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Detail of the Harvesters by Bruegel in the Metropolitan Museum of Art, February 2019
The Harvesters
Artist: Pieter Bruegel the Elder (Netherlandish, Breda (?) ca. 1525–1569 Brussels)
Date: 1565
Medium: Oil on wood
Dimensions: Overall, including added strips at top, bottom, and right, 46 7/8 x 63 3/4 in. (119 x 162 cm); original painted surface 45 7/8 x 62 7/8 in. (116.5 x 159.5 cm)
Classification: Paintings
Credit Line: Rogers Fund, 1919
Accession Number: 19.164
This panel belongs to a series, commissioned by the Antwerp merchant Niclaes Jongelinck for his suburban home. The cycle originally included six paintings showing the times of the year. Apart from The Harvesters, which is usually identified as representing July–August, or late summer, four other paintings of the group have survived (now in the Kunsthistorisches Museum, Vienna, and Lobkowicz Collection, Prague). Bruegel’s series is a watershed in the history of western art. The religious pretext for landscape painting has been suppressed in favor of a new humanism, and the unidealized description of the local scene is based on natural observations.
Text from: www.metmuseum.org/art/collection/search/435809
Artist: Pieter Bruegel the Elder (Netherlandish, Breda (?) ca. 1525–1569 Brussels)
Date: 1565
Medium: Oil on wood
Dimensions: Overall, including added strips at top, bottom, and right, 46 7/8 x 63 3/4 in. (119 x 162 cm); original painted surface 45 7/8 x 62 7/8 in. (116.5 x 159.5 cm)
Classification: Paintings
Credit Line: Rogers Fund, 1919
Accession Number: 19.164
This panel belongs to a series, commissioned by the Antwerp merchant Niclaes Jongelinck for his suburban home. The cycle originally included six paintings showing the times of the year. Apart from The Harvesters, which is usually identified as representing July–August, or late summer, four other paintings of the group have survived (now in the Kunsthistorisches Museum, Vienna, and Lobkowicz Collection, Prague). Bruegel’s series is a watershed in the history of western art. The religious pretext for landscape painting has been suppressed in favor of a new humanism, and the unidealized description of the local scene is based on natural observations.
Text from: www.metmuseum.org/art/collection/search/435809
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