The good Angel's are shown in white driving the monstrous-animal-like fallen Angels from heaven. These strange deformed figures fill the bottom half of the painting and are depicted as writhing mass of evil entities.
The doomed tower lurches to the left and seems to be partially under construction, part complete and part already in ruin. The poor construction methods seem lost on the officials and Bruegel has shown them finely dressed but ignorant to the obvious failings of the building.
The Adoration of the Kings, 1564. Oil on Wood, 44x33in (112.1x89.3cm) National Gallery, London. (s)
At first glance, The Adoration of the Kings would appear to be a conventional painting of a popular religious subject with the Virgin Mary placed in the centre of the composition cradling the infant Jesus. However, on closer inspection, the gathering king's and others seem to focus on the wealth of fabulous gifts on offer rather than the Virgin and Child. There are no halo's to be seen, rather the gathering enviously gaze at the magnificent golden bowl that is offered to the infant Christ.
Even Joseph, shown as an old white-haired carpenter, holds his hat as a dignitary explains the value of the wealth on offer. This is a bold departure from the usual depictions of the day where the Holy Family would be the main focus of attention, a brave move by Bruegel!
This is a crucifixion with a very unusual, high viewpoint. Among the teeming mass of figures, we have to search out the central image of Christ as he struggles under the weight of the Cross. The procession flows from left to right climbing up Mount Calvary towards the viewer in the foreground and on to the three Mary's with St John who are already mourning.
The perspective gives us, the viewer, the view that Christ would have had from the cross. So we are looking down on a scene that has already happened as the crucifixion parties move up the mountain, but also, simultaneously, on a large crowd that has lost interest in the main action, the crucifixion, as they turn away and return to their everyday lives.
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Peasant Wedding, 1568. Oil on Wood, 45x64in (114x164cm) Kunsthistorisches Museum Vienna. (s)
The Hunters in the Snow.
1565, Oil on Wood (117x162cm) Kunsthistorisches Museum Vienna. (w)
The Peasant Wedding is one of Pieter Bruegel's most familiar paintings. The images of the chunky waiters carrying the very large tray of food supported by wooden poles have been used in many an advertising campaign. How to capture everyday life was the artist's preoccupation here.
Bruegel would often dress in peasant clothing and mingle with the crowd at events such as weddings and parties. Going undercover has allowed the painter to capture real life such as the child in the foreground who uses his fingers to mop up any remaining food on his plate and the pitcher bearer who fills another tankard of ale. These images, charming as they are, present a snapshot of sixteenth-century peasant life.
For me "The Hunters in the snow" always conjures up memories of cold, crisp winter days, a well-used image by the Christmas card industry it is another very familiar Bruegel painting. We should not overlook the quality of the composition with its wonderful contrast between the dark hunters and the snow-laden landscape. The very air is filled with the cold green cast of winter and is mirrored on the frozen lake where village folk skate and generally amuse themselves.
The fact that we recognise this work so readily should not distract from our appreciation of the outstanding quality of this painting.
Pieter Bruegel died at the age of 44 on 9th September 1569.