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Pieter Bruegel t Drawings m Prints Pieter Bruegel the Elder Drawings and Prints Pieter Bruegel the Elder Drawings and Prints Edited by Nadine M. The exhibition is made possible in part by The Andrew W. Mellon Foundation for its support of the exhibition. These include Ger Luijten and Peter Schatborn, Rijksmuseum, Amsterdam; Liesbeth Schotsman and Yolande Deckers, Musees Roy- aux des Beaux- Arts de Belgique-Koninklijke Musea voor Schone Kunsten van Belgie, Antwerp; Holm Bevers, Staatliche Museen zu Berlin, Kupferstichkabinett; Anne Havinga, Sue Welsh Reed, Tom Rassieur, and Patrick Murphy, Museum of Fine Arts, Boston; Thomas Doring, Herzog Anton-Ulrich Museum, Braunschweig, Kupfer- stichkabinett; Katy Kline, Mattie Kelley, and Laura Lat- man, Bowdoin College Museum of Art, Brunswick, Maine; Nicole Walch, Bibliotheque Royale de Belgique, Cabinet des Estampes, Brussels; Eliane de Wilde and Stefaan Hautekeete, Musees Royaux des Beaux- Arts de Belgique-Koninklijke Musea voor Schone Kunsten van Belgie, Brussels; William W. Bowen, and Miriam Stewart, Harvard University Art Museums, Cambridge, Massachusetts; Peter Day, The Duke of Devonshire and the Chatsworth Settlement Trust, Chatsworth; Hanna Hohl, Hamburger Kunsthalle; Jef Schaeps, Prentenkabinet der Rijksuniversiteit, Leiden; Antony Griffiths and Martin Royalton-Kisch, The British Museum, London; Thea Vignau-Wilberg, Staatliche Graphische Sammlung, Munich; William M. But like Guicciardini, Vasari, and Lampsonius, Van Mander also described Bruegel as a Bosch imitator, revealing that, early on, "he had practiced a lot after the manner [handelinghe] of Jeroon van den Bosch."^ Bruegel's drawings reveal with particular clarity that although he initiated neither the fantastic nor the natural- istic in art, he occupies a significant place in the history of both genres. The tree to the left in The Capture of the City of At (fig. The anatomy of the rocky slopes is perceptible beneath their coats of vegetation, and the whole view is unified in a relentless movement, curving toward distances that our eyes strain to fathom. Both were produced during his Italian journey and are summations of his experience of nature, now transformed and distilled by his imagination, by his creative spirit — or by his ingenium, to use a term employed at the time.^^ The large tree in Wooded Landscape with Mills, 155a, seems to buckle under its own weight. Van Mander praises Baltens as "a very good landscape painter, who followed very closely the manner of Pieter Brueghel and also handled the pen very cleverly."*"^ Van Mander s chronology is unreliable, however. This enthusiasm must have sparked Cock into perceiving a market for prints after Boschs designs and into commission- ing Bruegel to produce new ones in the same vein.^^ 26 Bosch was the first of four old masters who have always been celebrated for "fantasies, bizarre things, dreams, and imaginations," to quote Vasari again. Yet his vision is less out- landish, less outre, than Boschs. The Corpus as Fragment Mielke s catalogue raisonne of Bruegels drawings describes sixty-one autograph sheets and six more known through copies.
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