Brueghel en tijdgenoten: Kunst als verborgen verzet? (Bonnefanten, Maastricht)
Lars Hendrikman, Dorien Tamis
Bonnefanten, Maastricht & Waanders Uitgevers, 2021
The turbulent sixteenth century not only drew deep furrows through Dutch society, but also clearly left its mark on art. The iconoclasm, the Spanish occupation, the uprising, we sometimes see evidence of it. Why do those Roman legionaries wear Spanish helmets on Brueghel’s Carrying of the Cross? And what is that striking Habsburg eagle doing on their flag? Doesn’t it represent the yoke that we want to throw off? And those crescents and Turkish mustaches on Brueghel’s Conversion of Saul? There is no other way than that there is a deep meaning behind it. Were the artists of the Dutch Renaissance secretly heroes of the resistance? Or pragmatists who conformed to their clients? We follow their trail from the end of the Middle Ages in luxurious books of hours, through many works from Pieter Brueghel II (‘the young’) to the great artists of the Flemish Baroque in the seventeenth century.IN DUTCH!