Pieter Bruegels Kruisdraging: een proeve van ‘close-reading’

Research output: Contribution to journalArticle

Abstract

The article is a contribution to the iconologv of sixteenth century landscape-painting, and sets out to examine in particular the con nection between the antithcthical iconography of the figurai element in landscapes by Joachim Patinir, Herri met de Bles and Jan van Amstel, and Pieter Bruegei’s Christ Bearing the Cross in Vicn na. Also presented and elucidated is the thesis that in this painting Bruegel anticipated with many details the subjective element in the sixteenth-century beholder’s interpretation, and that this subjective element in the reading of the image was anchored in the ‘collective’ imagery of early sixteenth-century landscape-painting. The author endeavours to demonstrate that the manner of reception prompted by Bruegei’s Christ Bearing the Cross is comparable with that required of the beholder of Jan van Am- stel’s landscape with Christ Bearing the Cross in Stuttgart. The uncertainty of the beholder faced with the question of whether a particular subjective interpretation of an individual detail or certain anecdote is ‘correct’ should not only be seen as a problem for the twentieth-century iconologist but is inherent in the actual painting, and must be judged as a positive element, intended by the painter, in the reception of the image. The beholder’s personal insight and judgement in issues of good and evil arc the true subject of these paintings.

Original languageEnglish (US)
Pages (from-to)17-33
Number of pages17
JournalOud Holland
Volume107
Issue number1
DOIs
StatePublished - Jan 1 1993

Fingerprint

Beholder
Close Reading
Christ
Reception
Landscape Painting
Iconography
Stuttgart
Painters
Uncertainty
Anecdote
Imagery
Evil

ASJC Scopus subject areas

  • Visual Arts and Performing Arts

Cite this

Pieter Bruegels Kruisdraging : een proeve van ‘close-reading’. / Falkenburg, Reindert.

In: Oud Holland, Vol. 107, No. 1, 01.01.1993, p. 17-33.

Research output: Contribution to journalArticle

@article{3fbe330cdc4b43208c581677b0385649,
title = "Pieter Bruegels Kruisdraging: een proeve van ‘close-reading’",
abstract = "The article is a contribution to the iconologv of sixteenth century landscape-painting, and sets out to examine in particular the con nection between the antithcthical iconography of the figurai element in landscapes by Joachim Patinir, Herri met de Bles and Jan van Amstel, and Pieter Bruegei’s Christ Bearing the Cross in Vicn na. Also presented and elucidated is the thesis that in this painting Bruegel anticipated with many details the subjective element in the sixteenth-century beholder’s interpretation, and that this subjective element in the reading of the image was anchored in the ‘collective’ imagery of early sixteenth-century landscape-painting. The author endeavours to demonstrate that the manner of reception prompted by Bruegei’s Christ Bearing the Cross is comparable with that required of the beholder of Jan van Am- stel’s landscape with Christ Bearing the Cross in Stuttgart. The uncertainty of the beholder faced with the question of whether a particular subjective interpretation of an individual detail or certain anecdote is ‘correct’ should not only be seen as a problem for the twentieth-century iconologist but is inherent in the actual painting, and must be judged as a positive element, intended by the painter, in the reception of the image. The beholder’s personal insight and judgement in issues of good and evil arc the true subject of these paintings.",
author = "Reindert Falkenburg",
year = "1993",
month = "1",
day = "1",
doi = "10.1163/187501793X00081",
language = "English (US)",
volume = "107",
pages = "17--33",
journal = "Oud Holland",
issn = "0030-672X",
publisher = "Brill",
number = "1",

}

TY - JOUR

T1 - Pieter Bruegels Kruisdraging

T2 - een proeve van ‘close-reading’

AU - Falkenburg, Reindert

PY - 1993/1/1

Y1 - 1993/1/1

N2 - The article is a contribution to the iconologv of sixteenth century landscape-painting, and sets out to examine in particular the con nection between the antithcthical iconography of the figurai element in landscapes by Joachim Patinir, Herri met de Bles and Jan van Amstel, and Pieter Bruegei’s Christ Bearing the Cross in Vicn na. Also presented and elucidated is the thesis that in this painting Bruegel anticipated with many details the subjective element in the sixteenth-century beholder’s interpretation, and that this subjective element in the reading of the image was anchored in the ‘collective’ imagery of early sixteenth-century landscape-painting. The author endeavours to demonstrate that the manner of reception prompted by Bruegei’s Christ Bearing the Cross is comparable with that required of the beholder of Jan van Am- stel’s landscape with Christ Bearing the Cross in Stuttgart. The uncertainty of the beholder faced with the question of whether a particular subjective interpretation of an individual detail or certain anecdote is ‘correct’ should not only be seen as a problem for the twentieth-century iconologist but is inherent in the actual painting, and must be judged as a positive element, intended by the painter, in the reception of the image. The beholder’s personal insight and judgement in issues of good and evil arc the true subject of these paintings.

AB - The article is a contribution to the iconologv of sixteenth century landscape-painting, and sets out to examine in particular the con nection between the antithcthical iconography of the figurai element in landscapes by Joachim Patinir, Herri met de Bles and Jan van Amstel, and Pieter Bruegei’s Christ Bearing the Cross in Vicn na. Also presented and elucidated is the thesis that in this painting Bruegel anticipated with many details the subjective element in the sixteenth-century beholder’s interpretation, and that this subjective element in the reading of the image was anchored in the ‘collective’ imagery of early sixteenth-century landscape-painting. The author endeavours to demonstrate that the manner of reception prompted by Bruegei’s Christ Bearing the Cross is comparable with that required of the beholder of Jan van Am- stel’s landscape with Christ Bearing the Cross in Stuttgart. The uncertainty of the beholder faced with the question of whether a particular subjective interpretation of an individual detail or certain anecdote is ‘correct’ should not only be seen as a problem for the twentieth-century iconologist but is inherent in the actual painting, and must be judged as a positive element, intended by the painter, in the reception of the image. The beholder’s personal insight and judgement in issues of good and evil arc the true subject of these paintings.

UR - http://www.scopus.com/inward/record.url?scp=79958298335&partnerID=8YFLogxK

UR - http://www.scopus.com/inward/citedby.url?scp=79958298335&partnerID=8YFLogxK

U2 - 10.1163/187501793X00081

DO - 10.1163/187501793X00081

M3 - Article

AN - SCOPUS:79958298335

VL - 107

SP - 17

EP - 33

JO - Oud Holland

JF - Oud Holland

SN - 0030-672X

IS - 1

ER -