We will talk about the 16th century artist of the Baroque era, a follower of the Flemish school of painting - Jan Brueghel the Younger. In the preface, I would like to note that in world history, including the history of art, continuity of generations has often been traced. From father to son, from grandfather to grandson, there is a chain through which the craft of versification, singing, and the ability to paint pictures was passed on. It seems that the next generation should cultivate and develop the acquired skills, surpassing the teachers, but fate does not always carry out the intended plans: sons do not become followers, but turn into imitators and copyists of more talented ancestors. A similar “joke” overtook the family of hereditary Bruegel painters, if we talk about the third generation of masters, represented by Jan Bruegel the Younger, the son of his namesake father.
Ian the Younger was not without talent, but for a long time was “in the shadow” of his father. There is so little information about the creative path of Bruegel’s son that it is impossible to trace his degree of ordeal and hard work on the path to fame. Jan Brueghel the Younger was born in Antwerp on September 13 in the first year of the 16th century. His family was large. After the death of Jan's mother, his father married a second time. His new wife, Katharina van Marienburg, gave birth to eight children. Among his half-siblings, Jan Brueghel was the eldest, his father's first-born and his hope. Ian the Elder personally taught the boy together with his brother Ambrosius. At that time, Junior was 10 years old, and, due to his inexperience, young artist imitated his teacher. Like his father, Bruegel showed meticulousness to small details, decorating scenes with floral patterns and flowers (“Christmas”, “Madonna and Child in a Flower Garland”, “Madonna and Child and Little John the Baptist”, etc.).
Christmas
Madonna and Child in a Flower Garland
Madonna and Child with little John the Baptist
He was characterized by a childish quality in his paintings, the presence of bright spots of birds, fruits and draperies.
Bruegel the Younger's son was so carried away by imitation that his work was very difficult to distinguish from his father's. Perhaps due to the lack of demand on the painting market or for some other reason, Jan signed own paintings with his father's flourish and put it up for sale. However, critics note the lower quality of John the Younger's writing and the "timid" use of the palette (Paradise, Ceres, Sleeping Nymphs and Satyrs, Allegory of Air and Fire, etc.).
Sleeping nymphs and satyrs
Allegory of air and fire
At 23, Ian travels to Italy with his childhood friend Anthony van Dyck. The friends’ journey was short-lived due to the death of the artist’s father from “current” cholera. After the departure of Jan the Elder, his studio remained, which was immediately headed by his son, Jan Brueghel. Along with the new mission, fame comes to Ian the Younger, and customers for the canvases appear from among the nobility and officials. The master’s paintings now have a different autograph; instead of “Brueghel” he signs “Breughel”.
Bruegel's coming of age culminated in his marriage to Anna-Maria Jenssens, daughter of A. Jenssens, in 1626 and his confirmation as dean of the Guild of St. Luke 4 years later. In parallel with the arrangement of everyday life, the artist arranged creative activity– painted landscapes, still lifes with an abundance of strange flowers and fruits, was the first to place animals in plots as heroes (“Allegory of War”, “Diana and the Nymphs after the Hunt”, “River Landscape with Birds”).
Jan Bruegel the Younger (Dutch. Jan Bruegel de Jonge, IPA: [ˈjɑn ˈbrøːɣəl]; September 13, 1601 - September 1, 1678) was a Dutch (Flemish) artist, a representative of the South Dutch (Flemish) dynasty of Bruegel artists, the grandson of Bruegel of Muzhitsky.
Mary Magdalene in a flower garland. 64x49. Private collection
Jan was the eldest child in the family. Two years after his birth, his mother died and his father married Katharina van Marienburg, with whom he had 8 children. Being the first-born, Jan continued his father's dynasty and became an artist. At the age of ten he was apprenticed to his father. Throughout its creative path he created paintings in similar style. Together with his brother Ambrosius, he painted landscapes, still lifes, allegorical compositions and other works full of small parts. He copied his father's works and sold them under his signature. The works of Ian the Younger are distinguished from those of Ian the Elder by their slightly lower quality and illumination.
Jan was traveling through Italy when he received news of his father's death from cholera. He interrupted the voyage and immediately returned to head the Antwerp workshop. He soon achieved a significant position and became dean of the Guild of St. Luke (1630). Best works John the Younger - large landscapes.
Madonna and Child in a Flower Garland. 81x55. Private collection
Holy Family surrounded by flowers. Hermitage
Christmas. 63x49. Private collection
Madonna and Child in a flower wreath. 29x26. Private collection
Madonna and Child in a Flower Garland. 105x80. Private collection
Madonna and Child in a Flower Garland. 34x28. Private collection
The Holy Family with John the Baptist in a Flower Garland (with Hendrik van Balen). 163x137. Private collection
Madonna and Child with the Holy Spirit surrounded by a wreath of flowers. 64x52. Private collection
Annunciation in a flower garland. 22x17. Private collection
The Holy Family with John the Baptist framed in the form of a wreath of flowers (co-authored with Pieter van Avont). 55x45. Private collection
Madonna and Child in a Floral Cartouche. 74x53. Private collection
to the family in a flower garland. 115x95. Private collection
Madonna and Child in a Floral Cartouche (with Pieter van Avont). 97x74. Private collection
Peter Paul Rubens (flowers - Jan I Bruegel), Madonna and Child in a garland of flowers. 1621
Peter Paul Rubens (together with Jan Bruegel I). Madonna and Child in a Flower Garland
Bouquet of flowers in a vase. 24x18. Private collection
Flower still life. 30x20. Private collection
Bouquet of flowers in a vase. 56x45. Private collection
Flowers in a vase. 70x48. Private collection
Bowl with wreath. 41x33. Private collection
Still life with flowers. 54x82. Private collection
Still life with flowers. 48x65. Private collection
Basket of flowers. 53x80. Private collection
Basket of flowers. 47x68. Metropolitan
Jan was the eldest child in the family. Two years after his birth, his mother died and his father married Katharina van Marienburg, with whom he had 8 children. Being the first-born, Jan continued his father's dynasty and became an artist. At the age of ten he was apprenticed to his father. Throughout his career, he created paintings in a similar style. Together with his brother Ambrosius, he painted landscapes, still lifes, allegorical compositions and other works full of small details. He copied his father's works and sold them under his signature. The works of Ian the Younger are distinguished from those of Ian the Elder by their slightly lower quality and illumination.
Jan was traveling through Italy when he received news of his father's death from cholera. He interrupted the voyage and immediately returned to head the Antwerp workshop. He soon achieved a significant position and became dean of the Guild of St. Luke (1630). The best works of Ian the Younger are large landscapes.
) - Dutch (Flemish) artist, representative South Dutch (Flemish) dynasty of artists Bruegel, grandson Bruegel Muzhitsky.
Biography
Jan was the eldest child in the family. Two years after his birth, his mother died and his father married Katharina van Marienburg, with whom he had 8 children. Being the first-born, Jan continued his father's dynasty and became an artist. At the age of ten he was apprenticed to his father. Throughout his career, he created paintings in a similar style. Together with his brother Ambrosium painted landscapes still lifes, allegorical compositions and other works full of small details. He copied his father's works and sold them under his signature. The works of Ian the Younger are distinguished from those of Ian the Elder by their slightly lower quality and illumination.
Ian was traveling around Italy(1625), when he received news of his father's death from cholera. He interrupted the voyage and immediately returned to head the Antwerp workshop. He soon achieved a significant position and became dean Guilds of St. Luke(). The best works of Ian the Younger are large landscapes.
Genealogy
| Pieter Bruegel Senior |
|||||||||||||||||||||||||||||||
| Pieter Bruegel Jr | Jan Brueghel Senior | Marie Bruegel | |||||||||||||||||||||||||||||
| Ambrosius Bruegel | Jan Brueghel Jr | Anna Bruegel | David Teniers Jr |
||||||||||||||||||||||||||||
| Abraham Bruegel | |||||||||||||||||||||||||||||||
Write a review of the article "Bruegel, Jan (the Younger)"
Links
Notes
Literature
- // Encyclopedic Dictionary of Brockhaus and Efron: in 86 tons (82 tons and 4 additional). - St. Petersburg. , 1890-1907.
About the personalities from Belgium. You can help the project by adding to it.
Excerpt characterizing Bruegel, Jan (the Younger)
He himself imagined himself to be of enormous stature, a powerful man who threw cannonballs at the French with both hands.- Well, Matvevna, mother, don’t give it away! - he said, moving away from the gun, when an alien, unfamiliar voice was heard above his head:
- Captain Tushin! Captain!
Tushin looked around in fear. It was the staff officer who kicked him out of Grunt. He shouted to him in a breathless voice:
- What, are you crazy? You were ordered to retreat twice, and you...
“Well, why did they give me this?...” Tushin thought to himself, looking at the boss with fear.
“I... nothing...” he said, putting two fingers to the visor. - I…
But the colonel did not say everything he wanted. A cannonball flying close caused him to dive and bend over on his horse. He fell silent and was just about to say something else when another core stopped him. He turned his horse and galloped away.
- Retreat! Everyone retreat! – he shouted from afar. The soldiers laughed. A minute later the adjutant arrived with the same order.
It was Prince Andrei. The first thing he saw, riding out into the space occupied by Tushin’s guns, was an unharnessed horse with a broken leg, neighing near the harnessed horses. Blood flowed from her leg like from a key. Between the limbers lay several dead. One cannonball after another flew over him as he approached, and he felt a nervous shiver run down his spine. But the very thought that he was afraid raised him up again. “I cannot be afraid,” he thought and slowly dismounted from his horse between the guns. He conveyed the order and did not leave the battery. He decided that he would remove the guns from the position with him and withdraw them. Together with Tushin, walking over the bodies and under terrible fire from the French, he began cleaning up the guns.
“And then the authorities came just now, so they were tearing up,” the fireworksman said to Prince Andrei, “not like your honor.”
Prince Andrei did not say anything to Tushin. They were both so busy that it seemed they didn’t even see each other. When, having put the surviving two of the four guns on the limbers, they moved down the mountain (one broken cannon and the unicorn were left), Prince Andrei drove up to Tushin.
“Well, goodbye,” said Prince Andrei, extending his hand to Tushin.
“Goodbye, my dear,” said Tushin, “dear soul!” “goodbye, my dear,” said Tushin with tears that, for some unknown reason, suddenly appeared in his eyes.
The wind died down, black clouds hung low over the battlefield, merging on the horizon with gunpowder smoke. It was getting dark, and the glow of fires was all the more clearly visible in two places. The cannonade became weaker, but the crackle of guns behind and to the right was heard even more often and closer. As soon as Tushin with his guns, driving around and running over the wounded, came out from under fire and went down into the ravine, he was met by his superiors and adjutants, including a staff officer and Zherkov, who was sent twice and never reached Tushin’s battery. All of them, interrupting one another, gave and passed on orders on how and where to go, and made reproaches and comments to him. Tushin did not give orders and silently, afraid to speak, because at every word he was ready, without knowing why, to cry, he rode behind on his artillery nag. Although the wounded were ordered to be abandoned, many of them trailed behind the troops and asked to be deployed to the guns. The same dashing infantry officer who jumped out of Tushin’s hut before the battle was, with a bullet in his stomach, placed on Matvevna’s carriage. Under the mountain, a pale hussar cadet, supporting the other with one hand, approached Tushin and asked to sit down.
