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Updated: June 11, 2025
"He is Peter Breughel, a humorist, who so designs his pictures that they seem painted only by way of jest. He is, however, in good repute as an artist. I saw recently one of his pictures in which he represents the Saviour carrying his cross to Calvary.
All the realist painters, from Breughel to Jordaens and from Jordaens to Teniers, had exalted the joys of popular holidays, and it is remarkable that, during a century when there was so little to eat in the country and so little cause for merrymaking, the works of art which are the truest expression of the people's aspirations dwell on no other subject with so much relish and insistence.
On the crowded wall, forming the background against which is seen the model's charming profile, is a picture which obviously is a copy of the painting of La Fuite en Egypte by Breughel.
"It seems to me that such conceits do but very little honor to the artist. Is it a custom among other artists in the Netherlands to sport thus with holy things?" "No; Signor Breughel is an exception. The other gentlemen in company with the Flemish Raphael are more serious men. Michael Coxie, whom you may distinguish by the gray doublet, excels in his portraits of women.
But when I come from the joy-sphere and thus have clear consciousness and presence of mind, I see the strange images themselves in action, while traversing this spectral world. I cannot describe them better than Teniers and Breughel have portrayed them. This, however, the artists could not convey to us: that they were constantly changing in shape and color.
The other exhibits are copies in miniature of famous pictures, notable among them a Raphael No. 3386 and a Breughel No. 3445 while No. 3341, the robing of a monk, is worth attention. We come now to the last pictures of the collection in three little rooms at the end, near the bronze sleeping Cupid.
The first picture, attributed to Durer, is a portrait of a woman; the second, likewise a portrait, is of the Italian School; the third, a Dutch landscape by Breughel; and the fourth, a Holy Family by an unknown master of the Florentine School."
Beckendorff; but Vivian, who had no ambitious hopes or fears to affect his temper, and who was amused by the character with whom he had become so unexpectedly acquainted, good-naturedly humoured the fantasies of the Minister, and said that he preferred his picture to any Breughel he had ever seen. "I see you have a fine taste," said Mr.
While Rubens and Van Dyck represent mostly the aristocratic and clerical side of the Flemish art of the period, Jordaens appears as the direct descendant of Jérôme Bosch and Peter Breughel. Breughel's satires, such as the "Fight between the Lean and the Fat" and the "Triumph of Death," show plainly that his sympathies were certainly not on the side of Spanish oppression.
There Teniers, like his great associate, lived in the utmost state and bounty, entertaining the noblest of the land. David Teniers married twice, his first wife being the daughter of one of a family of Flemish painters, who were known, according to their respective proclivities in art, by the names of Peasant Breughel, Velvet Breughel, and Hell Breughel. Teniers had many children.
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