Pieter Bruegel was a mid-16th-century painter
and one of the great figures in the history of European art.
We could say the same about Michelangelo, Velázquez, Dürer, Goya and many others.
One of these figures is undoubtedly Pieter Bruegel in Antwerp and Brussels,
where his work was based on an extremely fertile tradition of painting.
Bruegel emerged on the art world only around one hundred years after Van der Weyden
had painted his great works, including The Descent from the Cross in the Prado,
and when Van Eyck had been one of the great figures of European painting.
It was only about fifty years before Bruegel was painting that Bosch died, in 1516.
Bruegel began his career as a new Bosch.
At the outset he was a draughtsman and above all a printmaker.
He engraved numerous scenes based on the work of Bosch.
He started to paint late in life.
When he died in 1569 he hadn't been painting for long:
most of his best-known paintings are from more or less the last decade of his life.
This painting is normally dated around 1562.
Where does Bruegel's greatness lie?
Of course it's always difficult to express these issues in words,
but he was a painter of profound humanity,
transmitting the sensation that he understood the tribulations
and problems of being a human being;
in this sense he rather resembles Goya, surprisingly.
What he painted in The Triumph of Death, the painting that has just been restored at the Museum,
is an obsession: the terror in the face of death that existed at this time.
This terror was also present in other periods but in this case
it is death as an overwhelming and constant presence in human life.
It's an old tradition, in which death implies
that in the final instance we are all equal
and that it is fundamental to live a correct life in order to face death with the hope of salvation.
Bruegel's images are based on popular traditions and on images taken from Bosch.
He devised some very strange scenes derived from the medieval tradition
in which it is difficult to perceive a formal hierarchy in the Renaissance sense.
In an Italian Renaissance painting we would expect to see large figures
and we would clearly know where to look.
In this painting, as in Bosch's paintings, it's difficult to know where to look:
it all seems like a very large tapestry in which everything has the same importance.
Bruegel went to Italy twice and we begin to see the influence of Italian art
— which would start to prevail in Europe a couple of decades later —
in the skilled foreshortening of some of his figures
and also in the six pairs of figures in the lower part of the painting
which seem to be intended to structure this vast chaos painted by the artist.
Seeing the painting on display, we had been aware for some time that it needed restoring,
for two principal reasons:
it had a very yellowish varnish which had yellowed more over the years
and was creating the effect of a veil over the painting
so that the characteristic impact of oil painting was being lost.
It also had a very irregular surface.
This was because the panels were gradually breaking up and moving,
so that the natural curve of the group of panels
which comprise the painting's support had broken,
preventing its correct visual reading.
We had been looking for some time at both the painting's support and the darkening of the varnish
as it hung in the gallery and about a year ago we decided that the moment had arrived to restore it.
We realised that this was an enormous responsibility
as it's one of the great paintings
not just in the Museo del Prado but also in the entire tradition of European art.
The result is fabulous due to the work undertaken by the Museum's restoration studio
and above all, the quality of Pieter Bruegel himself.
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