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Pieter Brueghel the ElderPublic domain

The Hunters in the Snow

Pieter Brueghel the Elder · 1565

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Pieter Brueghel the Elder

Duchy of Brabant · 1525–1569

The painter who put peasants, games, seasons and dread into large panels, and became the most influential Netherlandish artist of his century.

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From Breda to Antwerp

Karel van Mander names his master as Pieter Coecke van Aelst of Antwerp, and in 1551 Brueghel became a free master in that city's guild of Saint Luke. Soon after he set out for Italy; he had left it by 1554 and reached Antwerp again by 1555. The drawings from the journey held to be authentic are all of landscapes, and the celebrated series of large mountain drawings long thought made on the trip is no longer given to him at all.

Back in Antwerp by 1555, he worked for a decade mainly as a designer of prints for Hieronymus Cock, the leading publisher of northern Europe, and only from the end of the 1550s did painting become his main medium. Every famous painting he left comes from the last decade of his short life. In 1563 he married his late master's daughter Mayken Coecke and moved to Brussels, where he died on 9 September 1569, leaving two sons, both well known as painters, whom his early death left without his training.

The peasant and the intellectual

Brueghel made peasants and their ways the chief subject of serious painting, a thing rarely done before him, and earned the old nickname of Peasant Bruegel. He was no peasant himself: he moved in humanist circles in Antwerp, and recent scholarship stresses the intellectual content of his work. His earlier panels crowd dozens of small figures across a wide view; in the 1560s the crowds give way to a few much larger figures, painted with a monumentality learned from Italian art.

The seasons occupied him in 1565, the year of his months; of the six panels, five were still extant, three of them in Vienna. His unsentimental record of village ritual and work has become a prime source of evidence about sixteenth-century life, and his winter of that year is read even as a witness of the Little Ice Age.

Known works

The Tower of Babel
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The Tower of Babel

Pieter Brueghel the Elder · 1563

Kunsthistorisches Museum

The Tower of Babel. A man-made mountain of arches and spiralling ramps rising from a harbour town, its construction rather than its punishment the painter's subject; dated 1563.

The Peasant Wedding
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The Peasant Wedding

Pieter Brueghel the Elder · 1568

Kunsthistorisches Museum

The Peasant Wedding. The bride under her paper crown before a green cloth, porters carrying plates on a door off its hinges, pipers and a dog under the bench: a barn feast.

The Peasant Dance
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The Peasant Dance

Pieter Brueghel the Elder · 1568

Kunsthistorisches Museum

The Peasant Dance. Kermis dancers and drinkers outside an inn, painted at about the same time as the Wedding and of the same size, with the monumental figures of his late style.

Children's Games
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Children's Games

Pieter Brueghel the Elder · 1560

Kunsthistorisches Museum

Children's Games. A town square given over entirely to children, over ninety of the games they played at the time identified among them.

The Fight Between Carnival and Lent
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The Fight Between Carnival and Lent

Pieter Brueghel the Elder · 1559

Kunsthistorisches Museum

The Fight Between Carnival and Lent. A panorama of nearly 200 figures staging the clash of fat against lean, the inn against the church, in one teeming square.

The Triumph of Death
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The Triumph of Death

Pieter Brueghel the Elder · 1560

Museo del Prado

The Triumph of Death. An army of skeletons over a blackened landscape of fires and shipwrecks, cutting down king and peasant alike; in the Prado since 1827.

The Return of the Herd
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The Return of the Herd

Pieter Brueghel the Elder · 1565

Kunsthistorisches Museum

The Return of the Herd. Cattle driven down from the high pasture through autumn woods, the October and November panel of the months of 1565.

The Procession to Calvary
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The Procession to Calvary

Pieter Brueghel the Elder · 1564

Kunsthistorisches Museum

The Procession to Calvary. Christ's cross carried through a crowd of contemporaries in a wide landscape, the second-largest painting Brueghel ever made.

The Gloomy Day
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The Gloomy Day

Pieter Brueghel the Elder · 1565

Kunsthistorisches Museum

The Gloomy Day. Leafless trees, ships driven against the shore and a boy crowned in paper before Carnival: February and March in the series of the months.

More to discover

The Beggars
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The Beggars

Pieter Brueghel the Elder · 1568

Louvre

The Beggars. Five cripples wearing carnival headgear for king, soldier, bourgeois, peasant and bishop, a satire whose meaning is still argued over; his only painting in the Louvre.

The Adoration of the Kings
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The Adoration of the Kings

Pieter Brueghel the Elder · 1563

National Gallery

The Adoration of the Kings. The Magi and their retinue crowding around the Virgin and Child, one of the very few upright panels he ever painted.

The Suicide of Saul
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The Suicide of Saul

Pieter Brueghel the Elder · 1562

Kunsthistorisches Museum

The Suicide of Saul. The wounded king falling on his sword above a battle that fills the valley: an early attempt to bind figure painting and landscape together, and the first time this subject had been put in a painting.

Conversion of Paul
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Conversion of Paul

Pieter Brueghel the Elder · 1567

Kunsthistorisches Museum

Conversion of Paul. The road to Damascus as a mountain pass crowded with soldiers in the dress and armour of Bruegel's own day, the fallen convert almost lost in the crowd.

The Wine of Saint Martin's Day
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The Wine of Saint Martin's Day

Pieter Brueghel the Elder · 1566

Museo del Prado

The Wine of Saint Martin's Day. Peasants scrambling for the first wine of the season at the November festival, the legend of the saint sharing his cloak pushed to the edge of the crowd; the Prado identified it as a Bruegel original in 2010.

The Peasant and the Nest Robber
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The Peasant and the Nest Robber

Pieter Brueghel the Elder · 1568

Kunsthistorisches Museum

The Peasant and the Nest Robber. Two monumental peasants in a late panel, one pointing up while the other climbs to raid a nest: a proverb about the man who knows and the man who takes, and a moralising contrast between them.

Sources

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The Hunters in the Snow
The Hunters in the Snow · Pieter Brueghel the Elder