Community hub
Recent from talks
Knowledge base stats:
Talk channels stats:
Members stats:
Jan Brueghel the Younger
Jan Brueghel (also Bruegel or Breughel) the Younger (/ˈbrɔɪɡəl/ BROY-gəl, US also /ˈbruːɡəl/ BROO-gəl; Dutch: [ˈjɑm ˈbrøːɣəl] ⓘ; 13 September 1601 – 1 September 1678) was a Flemish Baroque painter. He was the son of Jan Brueghel the Elder, and grandson of Pieter Bruegel the Elder, both prominent painters who contributed respectively to the development of Renaissance and Baroque painting in the Habsburg Netherlands. Taking over his father's workshop at an early age, he largely painted the same subjects as his father in a style which was similar to that of his father. He gradually was able to break away from his father's style by developing a broader, more painterly, and less structured manner of painting. He regularly collaborated with leading Flemish painters of his time.
Jan Brueghel was born in Antwerp on 13 September 1601 as the son of Jan and Isabella de Jode. His mother was the daughter of the cartographer, engraver and publisher Gerard de Jode. He trained with his father in his workshop. His father was a friend and close collaborator of Rubens. Jan likely assisted with his father's large-scale commissions.
On the wishes of his father he traveled around 1622 to Milan where he was welcomed by Cardinal Federico Borromeo. The cardinal was a patron and friend of his father who had met in Rome about 30 years earlier. In what was likely an act of rebellion against his father, he went to Genoa where he stayed with his cousins, the Antwerp painters and art dealers Lucas de Wael and Cornelis de Wael. Their mother was a sister of Jan's mother. At the time his friend and fellow Antwerp artist Anthony van Dyck was also active in Genoa. He later worked in Valletta on Malta in 1623. From 1624 to 1625 he lived in Palermo on Sicily at the time when van Dyck was also working there.
Jan learned that his father had died on 13 January 1625 from cholera only after his return to Northern Italy in Turin. Wanting to return to Antwerp immediately, he had to delay his departure for 16 days due to a severe fever. After recovering from his illness, he set off for his homeland by way of France. In Paris he met the Antwerp art dealer and painter Peter Goetkint the Younger, who was the son of Peter Goetkint the Elder, the master of Jan's father. Goetkint was eager to return to Antwerp because his wife was expected to deliver a baby soon. The child was born on 25 August, the day on which Jan Breughel arrived in Antwerp with his travelling companion who died a few days later. Jan took over the management of his father's workshop, sold the finished works of his father and finished some of his father's unfinished paintings. In the Guild year 1624–1625, Jan became a master painter of the Guild of Saint Luke of Antwerp.
In 1626 he married Anna Maria Janssens, daughter of Abraham Janssens, a prominent history painter in Antwerp. He continued to operate the large workshop of his father. In 1630 he became dean of the Guild of Saint Luke, and was commissioned by the French court to paint a series of paintings of the biblical character Adam. It seems that his studio declined after this period and that he started to paint smaller scale paintings which commanded lower prices than those produced earlier.
He worked independently in Paris in the 1650s and produced paintings for the Austrian court in 1651. He is recorded again in Antwerp in 1657 where he remained for the remainder of his life . During a meeting of the Antwerp Guild of St Luke held on 8 October 1672, he got into a heated argument with Peter van Brekeveldt, another former dean of the guild, who injured him in an eye. As this injury affected his ability to paint, he sued van Brekeveldt for indemnification. He died on 1 September 1678 at his home address on the Pruymenstraat in Antwerp.
His pupils included his older sons Abraham, Philips and Jan Peeter, his nephew Jan van Kessel, and his younger brother Ambrosius.
Taking over his father's workshop at an early age, he painted the same subjects as his father in a style which was similar to that of his father. About 340 paintings have been attributed to him. His repertoire included history paintings, allegorical and mythological scenes, landscapes and seascapes, hunting pieces, village scenes, battle scenes and scenes of hellfire and the underworld. Unlike his father, he did not paint many flower still lifes. Like his father and uncle, he would also reinterpret the genre and landscape paintings of his grandfather Pieter Brueghel the Elder. An example is the Fight between Peasants (Dorotheum Vienna 30 April 2019, lot 383), which goes back to a now lost painting of his grandfather, which was likely in the collection of his father and of which a print exists. Whereas in the print after Pieter Brueghel the Elder the viewer looks at the scene a 'spectator from a raised stage', in Jan Brueghel the Younger's version the viewer is more involved due to the lower viewpoint. Jan de Younger further created a new painting category of animals in landscapes. After the death of his father he changed his signature from 'Brueghel' to 'Breughel'.
Hub AI
Jan Brueghel the Younger AI simulator
(@Jan Brueghel the Younger_simulator)
Jan Brueghel the Younger
Jan Brueghel (also Bruegel or Breughel) the Younger (/ˈbrɔɪɡəl/ BROY-gəl, US also /ˈbruːɡəl/ BROO-gəl; Dutch: [ˈjɑm ˈbrøːɣəl] ⓘ; 13 September 1601 – 1 September 1678) was a Flemish Baroque painter. He was the son of Jan Brueghel the Elder, and grandson of Pieter Bruegel the Elder, both prominent painters who contributed respectively to the development of Renaissance and Baroque painting in the Habsburg Netherlands. Taking over his father's workshop at an early age, he largely painted the same subjects as his father in a style which was similar to that of his father. He gradually was able to break away from his father's style by developing a broader, more painterly, and less structured manner of painting. He regularly collaborated with leading Flemish painters of his time.
Jan Brueghel was born in Antwerp on 13 September 1601 as the son of Jan and Isabella de Jode. His mother was the daughter of the cartographer, engraver and publisher Gerard de Jode. He trained with his father in his workshop. His father was a friend and close collaborator of Rubens. Jan likely assisted with his father's large-scale commissions.
On the wishes of his father he traveled around 1622 to Milan where he was welcomed by Cardinal Federico Borromeo. The cardinal was a patron and friend of his father who had met in Rome about 30 years earlier. In what was likely an act of rebellion against his father, he went to Genoa where he stayed with his cousins, the Antwerp painters and art dealers Lucas de Wael and Cornelis de Wael. Their mother was a sister of Jan's mother. At the time his friend and fellow Antwerp artist Anthony van Dyck was also active in Genoa. He later worked in Valletta on Malta in 1623. From 1624 to 1625 he lived in Palermo on Sicily at the time when van Dyck was also working there.
Jan learned that his father had died on 13 January 1625 from cholera only after his return to Northern Italy in Turin. Wanting to return to Antwerp immediately, he had to delay his departure for 16 days due to a severe fever. After recovering from his illness, he set off for his homeland by way of France. In Paris he met the Antwerp art dealer and painter Peter Goetkint the Younger, who was the son of Peter Goetkint the Elder, the master of Jan's father. Goetkint was eager to return to Antwerp because his wife was expected to deliver a baby soon. The child was born on 25 August, the day on which Jan Breughel arrived in Antwerp with his travelling companion who died a few days later. Jan took over the management of his father's workshop, sold the finished works of his father and finished some of his father's unfinished paintings. In the Guild year 1624–1625, Jan became a master painter of the Guild of Saint Luke of Antwerp.
In 1626 he married Anna Maria Janssens, daughter of Abraham Janssens, a prominent history painter in Antwerp. He continued to operate the large workshop of his father. In 1630 he became dean of the Guild of Saint Luke, and was commissioned by the French court to paint a series of paintings of the biblical character Adam. It seems that his studio declined after this period and that he started to paint smaller scale paintings which commanded lower prices than those produced earlier.
He worked independently in Paris in the 1650s and produced paintings for the Austrian court in 1651. He is recorded again in Antwerp in 1657 where he remained for the remainder of his life . During a meeting of the Antwerp Guild of St Luke held on 8 October 1672, he got into a heated argument with Peter van Brekeveldt, another former dean of the guild, who injured him in an eye. As this injury affected his ability to paint, he sued van Brekeveldt for indemnification. He died on 1 September 1678 at his home address on the Pruymenstraat in Antwerp.
His pupils included his older sons Abraham, Philips and Jan Peeter, his nephew Jan van Kessel, and his younger brother Ambrosius.
Taking over his father's workshop at an early age, he painted the same subjects as his father in a style which was similar to that of his father. About 340 paintings have been attributed to him. His repertoire included history paintings, allegorical and mythological scenes, landscapes and seascapes, hunting pieces, village scenes, battle scenes and scenes of hellfire and the underworld. Unlike his father, he did not paint many flower still lifes. Like his father and uncle, he would also reinterpret the genre and landscape paintings of his grandfather Pieter Brueghel the Elder. An example is the Fight between Peasants (Dorotheum Vienna 30 April 2019, lot 383), which goes back to a now lost painting of his grandfather, which was likely in the collection of his father and of which a print exists. Whereas in the print after Pieter Brueghel the Elder the viewer looks at the scene a 'spectator from a raised stage', in Jan Brueghel the Younger's version the viewer is more involved due to the lower viewpoint. Jan de Younger further created a new painting category of animals in landscapes. After the death of his father he changed his signature from 'Brueghel' to 'Breughel'.