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Jan I Brueghel

Belgium (1568 -  1625 ) Wikipedia® : Jan I Brueghel
BRUEGHEL Jan I A Winter Landscape

Christie's /Oct 26, 2016
137,299.77 - 228,832.95
114,412.50

Find artworks, auction results, sale prices and pictures of Jan I Brueghel at auctions worldwide.
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Variants on Artist's name :

Breughel Jean Dit De Velours

Bruegel Jan I

Brueghel Jan, The Elder

 

Artworks in Arcadja
314

Some works of Jan I Brueghel

Extracted between 314 works in the catalog of Arcadja
Jan I Brueghel - Travellers On A Wooded Road, A Distant Landscape Beyond

Jan I Brueghel - Travellers On A Wooded Road, A Distant Landscape Beyond

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Lot number: 218
Other WORKS AT AUCTION
Description:
Follower of Jan Brueghel the Elder TRAVELLERS ON A WOODED ROAD, A DISTANT LANDSCAPE BEYOND oil on oak panel 47.2 x 64.4 cm.; 18 3/8  x 25 3/8  in. Catalogue Note A copy after a painting of similar dimensions by Jan Breughel the Elder now in the Gemäldegalerie Alte Meister, Dresden.1  Another version, also of similar dimensions was painted by the artist's son Jan Breughel the Younger, now in Galerie Finck, Brussels.2 1. K. Ertz, Jan Brueghel der Ältere (1568–1625), Lingen 2008, vol. 1, p. 107, cat. no. 19, reproduced in colour p. 108. 2. K. Ertz, Jan Breughel the Younger (1601–1678), Freren 1984, vol. 1, p. 197–98, cat. no. 16, reproduced p. 197.
Jan I Brueghel - The Temptation Of Adam In Paradise

Jan I Brueghel - The Temptation Of Adam In Paradise

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Lot number: 21
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Description:
Jan Brueghel I (Brussels 1568–1625 Antwerp) The Temptation of Adam in Paradise, oil on panel, 36.5 x 47.5 cm, framed Provenance: Private European collection; sale, Dorotheum, Vienna, 13 April 2011, lot 457; Private European collection Literature: K. Ertz, C. Nitze-Ertz, Jan Brueghel d. Ä., Kritischer Katalog der Gemälde, vol. IV, Lingen 2010, add. 17, pp.1651-1652 The present composition, which includes a certificate from Dr Klaus Ertz, remained unpublished until 2010 and has been an important addition to the oeuvre of the artist. Klaus Ertz writes: “In the 1590s, Jan Brueghel the Elder painted his first paradise landscapes. He established a genre of its own, which, as we now know, was highly successful particularly in seventeenth-century Flemish painting and among the artist’’’’’’’’s followers”. The earliest example of this genre, dated 1595, is now preserved in the Galleria Doria Pamphilj in Rome. A paradise landscape with Noah’’’’’’’’s Ark dates from the following year (private collection, Italy). Ertz: “These two early paradise landscapes are the prototypes, so to speak, for all the subsequent ones: the large apple tree with the figures of Adam and Eve, most often placed in the centre, frequently amidst some landscape scenery; the view into the distance, either right or left of the tree; the accumulation of animals in the foreground, varying depending on the time when the picture in question was made. The sources for the early animal models are unclear: Jan the Elder must partly have relied on his own observations and partly have borrowed from artists such as Peter Paul Rubens or Gonzales Cock”. Ertz about the dating of the present painting: “That the painting in question was made at an early date is illustrated both by the animals, which only occur in this form in the 1590s, and the two figures. It is generally assumed that Sadeler’’’’’’’’s engraving after de Vos served as a model for the present and subsequent examples.” Ertz compares this painting with the following works: 1) Paradise Landscape with the Fall of Man (Staatsgalerie Neuburg an der Donau, which dates from 1596 and was done with the participation of Hendrick de Clerck); 2) Paradise Landscape with the Fall of Man (Museo del Prado, Madrid, before 1612, with the participation of Hendrick de Clerck); 3) Paradise Landscape with the Fall of Man (circa 1612, French private collection) Klaus Ertz about the figures: “That the figures in the present picture are not by the hand of de Clerck – although they greatly rely on his art – but were probably painted by Jan the Elder himself is suggested by the evident differences in style; compared to the nude figures by de Clerck, with their muscular physiques being accentuated by light and shadow, they are softer and not as heavily modelled”.
Jan I Brueghel - Wide Landscape With Windmills

Jan I Brueghel - Wide Landscape With Windmills

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Lot number: 1022
Other WORKS AT AUCTION
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Lot 1022: Jan Brueghel the Elder, Wide Landscape with Windmills Signed lower left: H BREUgEL (probably added or amended)Klaus Ertz dates this work to 1611, as Jan Brueghel is known to have painted a number of similar landscapes at that time (cf. Ertz & Nitze-Ertz, op. cit., p. 324ff) , which he dubs the "Spada group" after the first known work (Ertz, op. cit., p. 164f).Jan Breughel manages to evoke a distant panorama. He achieves this by dispensing with obvious distinctions between fore, middle, and backgrounds, using the far horizon as a main feature of the composition. Only the looming silhouette of the windmill reaching into the sky breaks the horizon line. The fore ground is rendered in brown tones, and the mid ground is brightly lit by the light of the sun, whilst the background fades into a clear blue. The artist depicts the sun just behind the front windmill, simultaneously lending a lighter accent to the sky and accentuating the windmill structure. Small landscape works such as this, carefully painted in vivid colours on copper, were popular collector's items and were often given as royal presentations. The placement of the figural and architectural staffage, the skilful use of colour and light, as well as the artist's total confidence in the small format all show Jan Brueghel's maturity. He was working as court painter to the Stadtholder of the Southern Netherlands at the time this work was painted. Ertz mentions in the catalogue raisonné that the signature might be a later addition. 16 x 26 cm Jan Brueghel the Elder Oil on copper
Jan I Brueghel - A Winter Landscape

Jan I Brueghel - A Winter Landscape

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Lot number: 67
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Jan Breughel I (Brussels 1568-1625 Antwerp) and Hans Rottenhammer I (Munich 1564/5-1625 Augsburg) A winter landscape with villagers gathering wood and skaters on a frozen river, putti scattering flowers above with signature and indistinct date 'J. BREUGHEL 16...' (lower left) oil on copper 10¾ x 14¾ in. (27.4 x 37.4 cm.) Never before offered at auction, this remarkable panel appears on the market after several generations in a distinguished French collection in Nancy, where it was acquired sometime in the 19th century by Maurice Abraham de Zincourt. De Zincourt was an avid collector of Dutch and Flemish pictures of the highest caliber; his acquisitions included both the stunning Rottenhammer sold at Christie's, Paris, 21 June 2012, lot 15 (€1,241,000) that was almost certainly painted for the Holy Roman Emperor Rudolf II von Hapsburg, and the world record-breaking Mars and Venus by Joachim Wtewael, sold at Christie's, London, 3 July 2012, lot 8 (£4,633,250). Artistic collaborations like that in the present work were common in 17th-century Europe, and the Breughel family of painters was particularly fond of this practice. Jan Breughel I, son of Pieter Bruegel I, enjoyed a lucrative and highly successful career as a painter of landscapes and still-lifes rendered in exquisite detail and built many collaborative relationships with fellow artists working in both northern and southern Europe. Jan I was famed for his revolutionary attention to atmosphere and depth, which he combined with a clear appreciation for the genre scenes popularized by his famous father. In 1589, Jan I left the Netherlands on an Italian sojourn, traveling to Naples, Rome, and Milan. In the mid-1590s, he met Hans Rottenhammer I in Rome. Rottenhammer had arrived in Italy three years earlier after training with Hans Donauer in Munich, and his fortuitous encounter with Brueghel in the Italian capital led to many years of fruitful collaborations. Breughel's return to Antwerp in 1596 did not diminish the two artists' desire to work together, and they began a practice in which Breughel would start a picture in Antwerp and then send it by carriage to Rottenhammer so that he could complete the staffage. Here, Breughel would have been responsible for the meticulously rendered snowy landscape populated by skaters on a frozen stream and travelers making their way through a village, as well as the city beyond – almost certainly Antwerp – emerging out of the hazy distance. Rottenhammer, then, would have added the putti along the upper register, scattering flowers in blessing on the world below. Dr Klaus Ertz, to whom we are grateful, has confirmed the attribution to Jan Breughel I and Hans Rottenhammer I on the basis of firsthand inspection (written communication, 23 June 2016). Dr. Ertz further notes that the thick, heavy copper support is typical of production in Antwerp between 1600 and 1610, and suggests that the picture would likely have been started in Antwerp and then sent to Rottenhammer, at that time still in Venice, for completion. It would probably, as Ertz also suggests, have then been returned to Breughel for any finishing touches, including the addition of the flowers and blossoms scattered throughout the sky. Ertz dates our picture to c. 1605, pointing out that it relates to another version of the "revolutionary" composition now in the Pinacoteca Ambrosiana, Milan (inv. no. 75/26; see K. Ertz, Jan Brueghel II, Lingen, 2008-2010, III, no. 532), which was also painted around the same time. Two versions of a Baptism of Christ (one sold at Lempertz, Cologne, 19 November 2011, lot 1227 and now in a private Belgian collection; and the other sold at Christie's, London, 4 December 2012, lot 21) -- also collaborations between Breughel and Rottenhammer -- are dated by Ertz to c. 1608, and reveal an almost identical grouping of putti in the clouds at upper center.
Jan I Brueghel -  Venus And Adonis

Jan I Brueghel - Venus And Adonis

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Lot number: 59
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Description:
Jan Brueghel I and Hendrick van Balen (Brussels 1568–1625 Antwerp) and(Antwerp 1575–1632) Venus and Adonis, oil on copper, 49.7 x 69.5 cm, framed Provenance: Private European collection We are grateful to Klaus Ertz, who examined the present painting in the original, for endorsing its authenticity. A certificate is available (15th August 2016). Ertz writes: “The present painting, which in my opinion dates from the period around 1620, is preserved in good condition. What speaks in favour of this time of execution, besides the delicately painted landscape and the detailed flowers in the foreground, is above all the style of the figure painter, who in his early period modelled his figures after the slender type used by Hans Rottenhammer, whereas from the 1620s onwards they were rather reminiscent of the more voluminous type employed by Peter Paul Rubens, the artist’’’’’’’’s role model. In the first half of the 17th century it was an entirely common and even typical habit in Flemish painting for two painters specialized in different genres to team up, thereby creating compositions that seem amazingly homogeneous today. The ‘prime pairing’’’’’’’’ consisted of Jan Brueghel the Elder and Peter Paul Rubens, followed by Jan Brueghel the Elder and Hendrick van Balen, who mostly collaborated for mythological compositions.” In the present picture, Jan Brueghel I painted the landscape, the animals, and the plants, while the figures were added by Hendrick van Balen. Hendrick van Balen, the author of the figures in this picture, was one of the foremost historical painters of his time. After his training with Adam van Noort, he became Master of the Antwerp Guild of St. Luke in 1592/1593. Shortly afterwards he appears to have made an extended tour of Italy. After his return to Antwerp he founded a studio, which quickly became one of the most successful and important ateliers in the city. Anthony van Dyck and Frans Snyders, amongst others, can be numbered among his 26 documented students. The landscapes of his colleagues, such as Jan Brueghel I, and II, G. van Coninxloo, F. Francken II, A. Grimmer, J. van Kessel, J. de Momper, F. Snyders, J. Tilens, L. van Uden, S. Vrancx and J. Wildens, were enlivened by Balen’’’’’’’’s small, elegant figures and scenes. These contrast the religious works of the artist’’’’’’’’s maturity, which are characterised by monumental and imposing figures. However, he principally produced small decorative paintings, usually on wood or copper. In these, the carefully considered compositions and luminous palette betray the influence of his German contemporary Johann Rottenhammer.
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