Elderfield's brief proposed a "history of the painting of studios" that comprised "a period of expansion followed by one of retraction." The era of expansion begins with the Renaissance--the show opened with a mid-sixteenth-century drawing from the Pieter Breughel
circle depicting the artist at work accompanied by an onlooker--and culminates in the nineteenth century, when "images of the studio were observed, staged, and invented," acting as "pedagogical spaces, venues for social gatherings, places for the display of art, entirely imaginary, and more." The epoch of contraction starts with modern art, particularly that of the early twentieth century, when the most innovative exploration of the theme of the studio was "reduced to basically ...
New York, NY, June 11, 2013 --(PR.com)-- Pieter Breughel
the Younger's “Spring” more than tripled its low estimate of $700,000 and fetched $2.3 million at Sotheby's Old Master paintings sale on June 6, 2013.
Painter Pieter Breughel
the Elder's interpretation of Cockaigne was a depiction of overindulgence that engaged basic needs and desires.
Within the tight ambit of this show we glimpse the impact of these major events obliquely, as Bosch's gleefully delirious compositions give way to the greater naturalism of Pieter Breughel
the Elder and his sons (Fig.
Rabb sees Pieter Breughel
as the prophet of this new vision with his painting The Massacre of the Innocents, in which the biblical scene has been transferred to Europe.