Page:Bryan's dictionary of painters and engravers, volume 1.djvu/319

 Vienna. Gallery. Coast scene. „ ,, Flowers. „ „ The four Elements. „ „ Landscape. „ Liechtenstein Coll. Landscape. We Imve four small etchings by Jan Brueghel ; they are marked J. Sadeler exc.

BRUEGHEL, Peeter. ' the elder,' (Brheqel or less correctly Bbeughel,) called ' Boeren-Brueghel ' (Peasant- Brueghel), and also ' the Droll,' was born in the village of that name, near Breda, about the year 1530. He was the son of a peasant, and was instructed in painting by Pieter Couoke ; but he seems to have paid more attention to the eccen- tricities of Jerom Bosch than to the works of his instructor. He became, in 1551, a member of the Guild at Antwerp, and travelled soon afterwards in France and Italy, devoting particular study to the wildest and most romantic parts of the AJps. On his return to Flanders, in 1553, he settled for a time at Antwerp, where his works met with much admiration. In 1563 he removed to Brussels, where he died in 1569. His best pictures represent 'illage feasts and merry-makings, and it is said that he frequently disguised himself as a boor, to mix in those rural amusements, to observe with more accuracy their various characters, which he personi- fied with great humour and pleasantry. He also painted attacks of banditti in wild landscapes, gipsies telling fortunes, and other drolleries. In these subjects he has only been surpassed by Teniers. "The following are some of his best paintings :

Brussels. Museum. Massacre of the Innocents. Darmstadt. Gallery. Landscape. Florence. Uffizi. Christ bearing the Cross. Madrid. Museum. Triumph of Death. Munich. Finakothek.Yteachmg of John the Baptist. Paris. Louvre. View of a Village. „ „ Peasants dancing. Vienna. Gallery. Fight between Carnival and Lent. 1559. ^ „ Massacre of the Innocents. „ „ Christ carrying the Cross. 1563. „ „ The Tower of Babel. 1563. „ ,, Peasant Wedding.

Peeter Brueghel has etched a few plates of similar subjects to his pictures :

A large plate of a Kermess, or Village Festival. Another subject of Peasants regaling ; inscribed Kirch- mess Barth. Mumper ezc. The Feast of the Archers, with their Banner flying from the ^yindow of an Alehouse ; inscribed Dit is de Guide, &c. A Masquerade, known by the name of Valentine and ' Orson, with his name, and dated 1566 ; scarce. A View on the Rhine, with the subject of Daedalus and Icarus ; Pelrus liriughel fecit ; Eomce, 1553. Excud. Hand ins. Another View on the Rhine, with the subject of Mercury and Psyche ; same mark.

BRUEGHEL, Peeter, 'the younger,' called, from the frightful and eccentric subjects he painted, 'Hollen Brueghel '(' Hell Brueghel'), was born at Brussels in 1564. He studied under Gillis van Coninxloo at Antwerp. As a painter he is nmch inferior to bis father, the elder painter of the same name, and there is not much in the subjects of his pictures to recommend them to one's norice. He was registered as a master at Antwerp in 1585; married three years later, and died also at Antwerp in 1637-38. A ' Christ bearing the Cross,' signed and dated 1606, in the Beriin Museum, is a good specimen of his art ; a replica of the same subject is in the Antwerp Gallery. In the Brussels G allery there is a ' Fall of the Rebel Angels ' by him. His works are seen in many of the continental galleries. He had a son, Peeter Brueghel III., who was oom at Antwerp in 1589, was free of the Guild in 1608, and died in 1638-39, and was, it is thought, instructor of Gonzales Cocx.

BRUGES, Jean de, was the author of the illuminations in a translation of the Vulgate which was presented to Charles V. of France by one Jehan Vaudetar. It is now in the Westreen Museum at the Hague, a museum which contains many interesting missals of a similar character. These illuminations were executed in the year 1371, a period when art in the Netherlands was making rapid advances beyond the conventionality of the early 14th century, and the work of Jean de Bruges is by no means behind that of his contemporaries.

BRUGES, Mabco de. See Garrard.

BRUGES. Roger of. See Van deb Wevden.

BRUGGEN, J. TER. See Teb Bb0Ggen.

BRUGGEN, J. VAN deb. See Van deb Bbugqen.

BRUIN (Brutn). See De Bedtn.

BRUN, Le. See Le Bedn.

BRUN, Augdstin. See Braun.

BRUN, F., a French engraver, was probably of the same family with Charles and Gabriel Le Bnin. He engraved a few plates, which are executed en- tirely with the graver, in a neat style, but without taste ; among which are the following portraits : The King and Queen of Bohemia ; in one plate. Leopold, Archduke of Austria. Frederick Henry, Prince of Orange.

BRUNAUD, Michel, was a French engraver <» wood, who flourished at Lyons in the 16th century. There is b3' him a fine engraving of Henry IV., King of France and Navarre, signed and dated 1595.

BRDNE, Adolphe, who was bom at Paris in 1802, studied under Gros, and made his debut at the Salon in 1833 with an 'Adoration of the Magi.' He was subsequently employed on various public buildings. He decorated the ' Salle des Seances' of the Senate in the Luxembourg, and the ceiling of the Bibliotheque of the Louvre. Brune died in 1880.

BRUNEAU, Louis, a French engraver, flourished about the year 1750. He etched several plates of landscapes, some of which are from his own de- signs. They are executed in a very pleasing style. It is most probable that he resided some time in London, as some of them were published by J. Tinney, in Fleet Street.

BRUNETTI, Sebastiano. was a native of Bologna, and was first a sciiolar of Lucio Massari ; but, according to Malvasia, he afterwards was instructed in the school of Guido, of whom he was one of the ablest disciples. He painted in the graceful manner of his instructor, but his colour- ing is rather cold and heavy. In the church of Santa Maria Maggiore, at Bologna, he painted a picture of ' The Guardian Angel ; ' in San Giuseppe, a ' Holy Family,' entirely in the style of Guido ; and in Santa Margherita, 'Mary Magd.alen praying in the Desert.' This last is now in the Pinacoteca at Bologna. He died young in 1649.

BRUNI, DOMENICO, was born, according to Averoldi, at Brescia in 1591, and was a scholar of Tommaso Sandrini. He was a reputable painter of architectural views and perspective. Several of his works are in the churches and public edifices at Brescia, where he died in 1666.