Editing Jan Brueghel the Younger

{{Short description|Flemish painter (1601–1678)}}
{{Use dmy dates|date=May 2020}}
{{Infobox person
| name          = Jan Brueghel the Younger
| image         = Landscape with Pan and Syrinx by Sir Peter Paul Rubens Jan Breughel the Younger.jpg|
| alt           =
| caption       = ''Landscape with Pan and Syrinx'', figures by [[Peter Paul Rubens|Rubens]]
| birth_name    =
| birth_date    = 13 September 1601
| birth_place   = [[Antwerp]]
| death_date    = 1 September 1678 (aged 76)
| death_place   = Antwerp
| nationality   = Flemish
| other_names   = 
| occupation    = Painter
| years_active  = 
| known_for     = 
| notable_works = ''[[Adam and Eve in the Garden of Eden]]''
| father        = 
| spouse        = [[Anna Maria Janssens]] (m. 1626)
}}

'''Jan Brueghel''' (also '''Bruegel''' or '''Breughel''') '''the Younger''' ({{IPAc-en|ˈ|b|r|ɔɪ|ɡ|əl}} {{respell|BROY|gəl}},<ref>{{cite web|url=https://www.collinsdictionary.com/dictionary/english/brueghel|title=Brueghel|work=[[Collins English Dictionary]]|publisher=[[HarperCollins]]|access-date=10 August 2019}}</ref><ref>{{Cite Oxford Dictionaries|Bruegel|accessdate=10 August 2019}}</ref> {{IPAc-en|usalso|ˈ|b|r|uː|ɡ|əl}} {{respell|BROO|gəl}};<ref>{{Cite American Heritage Dictionary|Brueghel|access-date=10 August 2019}}</ref><ref>{{Cite Merriam-Webster|Brueghel|access-date=10 August 2019}}</ref> {{IPA|nl|ˈjɑm ˈbrøːɣəl|lang|nl-Breugel.ogg}}; 13 September 1601 – 1 September 1678) was a [[Flemish Baroque painting|Flemish Baroque painter]]. He was the son of [[Jan Brueghel the Elder]], and grandson of [[Pieter Bruegel the Elder]], both prominent painters who contributed respectively to the development of Renaissance and Baroque painting in the [[Habsburg Netherlands]]. Taking over his father's workshop at an early age, he largely painted the same subjects as his father in a style which was similar to that of his father.<ref name=getty>[https://www.getty.edu/art/collection/artists/754/jan-brueghel-the-younger-flemish-1601-1678 Jan Brueghel the Younger] at the Getty Center</ref> He gradually was able to break away from his father's style by developing a broader, more painterly, and less structured manner of painting.<ref name=dorsti>[https://www.dorotheum.com/en/l/6416688 Jan Brueghel II, ''Mixed flowers in a basket with a tazza nearby''] at Dorotheum</ref> He regularly collaborated with leading Flemish painters of his time.<ref name=getty/>

==Life==
Jan Brueghel was born in Antwerp on 13 September 1601 as the son of Jan and Isabella de Jode. His mother was the daughter of the cartographer, engraver and publisher [[Gerard de Jode]]. He trained with his father in his workshop.<ref name=brand>[https://digi.ub.uni-heidelberg.de/diglit/vandenbranden1883/0467 Frans Jozef Peter Van den Branden, ''Geschiedenis der Antwerpsche schilderschool''], Antwerpen, 1883, pp. 455–458 {{in lang|nl}}</ref> His father was a friend and close collaborator of Rubens. Jan likely assisted with his father's large-scale commissions.<ref name=rubens>Anne T. Woollett and Ariane van Suchtelen; with contributions by Tiarna Doherty, Mark Leonard, and Jørgen Wadum, ''Rubens and Brueghel: A Working Friendship'', 2006, pp. 5–33</ref>
[[File:Lucas van Uden, Jan Brueghel the Younger, Jan Thomas d’Ypres - Portrait of Nicolaas de Man in the grounds of his country estate in the neighbourhood of Antwerp, surrounded by a garland of flowers.jpg|thumb|left|''Nicolaas de Man at his country estate'', portrait by [[Jan Thomas van Ieperen]] and  landscape by [[Lucas van Uden]]]]
On the wishes of his father he traveled around 1622 to Milan where he was welcomed by Cardinal [[Federico Borromeo]].<ref name=oxonline>[https://doi.org/10.1093/gao/9781884446054.article.T011669 Hans J. Van Miegroet, ''Jan Brueghel the younger''], Oxford Art Online, accessed 21 February 2022</ref> The cardinal was a patron and friend of his father who had met in Rome about 30 years earlier.<ref name=brand/>   In what was likely an act of rebellion against his father, he went to Genoa where he stayed with his cousins, the Antwerp painters and art dealers [[Lucas de Wael]] and [[Cornelis de Wael]]. Their mother was a sister of Jan's mother. At the time his friend and fellow Antwerp artist [[Anthony van Dyck]] was also active in Genoa.  He later worked in Valletta on Malta in 1623.  From 1624 to 1625 he lived in [[Palermo]] on Sicily at the time when van Dyck was also working there.<ref name=RKD>[https://rkd.nl/en/explore/artists/13289 Jan Brueghel (II) record] on the website of the [[Netherlands Institute for Art History]]</ref>
[[File:Jan Brueghel (II) and Joos de Momper (II) - Winter landscape with an overturned horse-drawn cart, and figures driving a herd.jpg|thumb|''Winter landscape'', with Joos de Momper (II)]]

Jan learned that his father had died on 13 January 1625 from [[cholera]] only after his return to Northern Italy in Turin.  Wanting to return to Antwerp immediately, he had to delay his departure for 16 days due to a severe fever. After recovering from his illness, he set off for his homeland by way of France. In Paris he met the Antwerp art dealer and painter Peter Goetkint the Younger, who was the son of Peter Goetkint the Elder, the master of Jan's father.  Goetkint was eager to return to Antwerp because his wife was expected to deliver a baby soon.  The child was born on 25 August, the day on which Jan Breughel arrived in Antwerp with his travelling companion who died a few days later.<ref name=brand/>  Jan took over the management of his father's workshop, sold the finished works of his father and finished some of his father's unfinished paintings.<ref name=oxonline/> In the Guild year 1624–1625, Jan became a master painter of the [[Guild of Saint Luke]] of Antwerp.<ref name=lig>[https://archive.org/stream/deliggerenenand00lukagoog/deliggerenenand00lukagoog_djvu.txt Ph. Rombouts and Th. van Lerius (ed.), ''De liggeren en andere historische archieven der Antwerpsche sint Lucasgilde''] Volume 2,  Antwerp, Julius de Koninck, 1871, pp. 631, 641, 654, 656, 669, 671 {{in lang|nl}}<!--Dutch--></ref>
[[File:Jan Brueghel (II) - A village brawl.jpg|thumb|left|''Fight between Peasants'']]
In 1626 he married [[Anna Maria Janssens]], daughter of [[Abraham Janssens]], a prominent history painter in Antwerp.<ref name=RKD/> He continued to operate the large workshop of his father.  In 1630 he became dean of the [[Guild of Saint Luke]], and was commissioned by the French court to paint a series of paintings of the biblical character Adam.<ref name=haeft>[[Johnny Van Haeften]], ''Dutch and Flemish Old Master Paintings'', Johnny Van Haeften gallery, 2005, p. 11</ref>  It seems that his studio declined after this period and that he started to paint smaller scale paintings which commanded lower prices than those produced earlier.<ref name=oxonline/>

He worked independently in [[Paris]] in the 1650s and produced paintings for the [[Austria]]n court in 1651.  He is recorded again in [[Antwerp]] in 1657 where he remained for the remainder of his life .<ref name=oxonline/> During a meeting of the Antwerp Guild of St Luke held on 8 October 1672, he got into a heated argument with Peter van Brekeveldt, another former dean of the guild, who injured him in an eye. As this injury affected his ability to paint, he sued van Brekeveldt for indemnification.  He died on 1 September 1678 at his home address on the Pruymenstraat in Antwerp.<ref name=brand/>

His pupils included his older sons [[Abraham Brueghel|Abraham]], [[Philips Brueghel|Philips]] and [[Jan Pieter Brueghel|Jan Peeter]], his nephew [[Jan van Kessel, senior|Jan van Kessel]], and his younger brother [[Ambrosius Brueghel|Ambrosius]].<ref name=RKD/>

==Work==
===General===
[[File:Jan Brueghel (II) - Extensive Landscape with Travellers Before a Windmill.jpg|thumb|''Extensive Landscape with Travellers Before a Windmill'']]
Taking over his father's workshop at an early age, he painted the same subjects as his father in a style which was similar to that of his father. About 340 paintings have been attributed to him.  His repertoire included history paintings, allegorical and mythological scenes, landscapes and seascapes, hunting pieces, village scenes, battle scenes and scenes of hellfire and the underworld. Unlike his father, he did not paint many flower still lifes.<ref name=RKD/> Like his father and uncle, he would also reinterpret the genre and landscape paintings of his grandfather [[Pieter Brueghel the Elder]].  An example is the [[:File:Jan Brueghel (II) - A village brawl.jpg|''Fight between Peasants'']] (Dorotheum Vienna 30 April 2019, lot 383), which goes back to a now lost painting of his grandfather, which was likely in the collection of his father and of which a print exists. Whereas in the print after Pieter Brueghel the Elder the viewer looks at the scene a 'spectator from a raised stage', in Jan Brueghel the Younger's version the viewer is more involved due to the lower viewpoint.<ref>[https://www.dorotheum.com/en/l/6154437 Jan Brueghel (II), ''A village brawl''] at Dorotheum</ref>  Jan de Younger further created a new painting category of animals in landscapes.<ref name=oxonline/> After the death of his father he changed his signature from 'Brueghel' to 'Breughel'.<ref name=RKD/>

While he did not surpass his father in the quality of his output, his early works can hardly be distinguished from those of his father in terms of their high level of execution.<ref name=oxonline/> He gradually was able to break away from his father's style by developing a broader, more painterly, and less structured manner of painting.<ref name=dorsti/>

===Landscapes===
He painted a wide variety of landscapes including: landscapes of woods, rivers and harbours, villages, cityscapes, architectural views with figures, [[veduta|veduti]], hell scenes, landscapes with the Holy Family, paradise landscapes and allegorical landscapes. These landscapes show his father's influence although he would develop some personal touches in his later career.<ref name=oxonline/>
His best works are his wide landscapes, which he produced on his own or in collaboration with other painters such as [[Hendrick van Balen the Elder]] and [[Joos de Momper]].<ref name=rubens/>  During his career, he collaborated with many other artists such as [[Jan van Balen]] - the son of his father's collaborator Hendrick van Balen the Elder, Pieter de Lierner, [[Adriaen Stalbemt]], [[Lucas Van Uden]], his brother-in-law [[David Teniers the Younger]], his father-in-law Abraham Janssens, [[Sebastiaen Vrancx]], Denijs van Alsloot and Hendrik de Clerck.<ref name=oxonline/>  In view of the strong demand for large decorative landscapes at the time, Jan the Younger would sometimes have his father's works copied in his workshop and then sell them under his father's signature.<ref name=getty/>  In the wide landscapes he often reprised compositions of his father but executed them in a different palette.<ref name=oxonline/>  Among his veduta paintings can be counted a [[:File:The Royal Palace in Brussels, c. 1627.jpg|''View of the palace of Brussels with Archdukes Albert and Isabella'']] (c. 1627, [[Museo del Prado]]) executed in collaboration with Sebastiaen Vrancx.<ref name=oxonline/>
[[File:A Basket of Flowers MET DT2134.jpg|thumb|''Basket of Flowers'']]
In his village landscapes Jan initially followed his father's precedent and gradually developed his own idiom in the 1640s.<ref name=oxonline/>

===Still lifes===
A less prolific flower painter than his father, he was inspired by his father's works on which he produced his variations. His flower pieces are usually executed on a smaller scale and are less compact, slimmer and less detailed.<ref name=oxonline/>

His father had created the new still life category of garland paintings, a special type of still life developed in Antwerp along with other artists such as [[Hendrick van Balen]], [[Frans Francken the Younger]], [[Peter Paul Rubens]] and [[Daniel Seghers]]. These paintings typically show a flower garland around a devotional image or portrait.  This genre was initially inspired by the cult of veneration and devotion to [[Mary (mother of Jesus)|Mary]] prevalent at the [[Habsburg]] court (then the rulers over the Southern Netherlands) and in Antwerp generally.<ref name=garland>[http://www.hnanews.org/archive/2012/11/vl_merriam0912.html Ursula Härting, ''Review of Susan Merriam, Seventeenth-Century Flemish Garland Paintings. Still Life, Vision and the Devotional Image'']</ref>  Jan also painted various garland paintings in collaboration with other artists. They show the influence of Daniel Seghers.<ref name=oxonline/>  An example is the [[:File:Lucas van Uden, Jan Brueghel the Younger, Jan Thomas d’Ypres - Portrait of Nicolaas de Man in the grounds of his country estate in the neighbourhood of Antwerp, surrounded by a garland of flowers.jpg|''Nicolaas de Man in the grounds of his country estate'']] in which the portrait was painted by [[Jan Thomas van Ieperen]] and the landscape by [[Lucas van Uden]] (Christie's London auction of 6 December 2018 lot 26).<ref>[https://www.mutualart.com/Artwork/Portrait-of-Nicolaas-de-Man-in-the-groun/794E3881D4263BC3 Lucas van Uden, Jan Brueghel the Younger, Jan Thomas d’Ypres, ''Portrait of Nicolaas de Man at his country estate in the neighbourhood of Antwerp, surrounded by a garland of flowers''] at Christie's London auction of 6 December 2018 lot 26</ref>

===Allegorical paintings===
[[File:Jan Brueghel (II) - Allegory of war.jpg|thumb|''Allegory of war'']]
Like his father, Jan the Elder produced various sets of allegorical paintings, in particular on the themes of the ''Five senses'', the ''Four Elements''. These paintings were often collaborations with other painters such as is the case with the five paintings representing the ''Five senses'' on which Brueghel and [[Pieter van Avont]] collaborated and of which an [[:File:Jan Breughel (II) & Pieter van Avont - Allegory of Smell.jpg|''Allegory of Smell'']] was auctioned at Dorotheum on 18 December 2017.<ref>[https://www.dorotheum.com/en/l/161698 Jan Breughel (II) & Pieter van Avont, ''Allegory of Smell''] at Dorotheum</ref> Another recurring allegorical theme also treated by his father is ''Abundance''. An example is the [[:File:Jan Breughel (II) - Allegory of abundance.jpg|''Allegory of abundance'']] (c. 1624, [[Museo del Prado'']]) in which fertility is represented by a six-breasted figure at the centre of the composition.<ref>[https://www.museodelprado.es/en/the-collection/art-work/abundance/7a8aa317-293c-475e-9e1f-125b88b8214a Jan Breughel (II), ''Allegory of abundance''] on Museo del Prado site</ref>

He gradually developed his own themes and style for his allegorical subjects. From the 1640s he created complex allegories dealing with subjects such as the horrors of war and the benefits of commerce, the arts and science.  In particular the subject of the horrors of war occupied Jan Brueghel in the 1640s, when Europe was emerging from the [[Thirty Years' War]]. The long-hoped-for end of the war was achieved by the [[Peace of Westphalia]] in 1648.  A work made against this background is the [[:File:Jan Brueghel (II) - Allegory of war.jpg|''Allegory of war'']] (Lempertz 16 November 2013, Cologne Lot 1243).  The work is full of symbols of war and strife such as weapons, fighting animals, zodiac symbols of bad luck in the heavens, the [[Erinyes|furies]], a burning city, the god of war and the battling troops in the background which all evoke the theme of the horrors of war. In these mature works Jan Brueghel the Younger distanced himself from his father's models to create his own visual language, reflecting the new art and mood of his time.<ref>[https://www.lempertz.com/en/catalogues/lot/1020-1/1243-jan-brueghel-the-younger.html Jan Brueghel the Younger, ''Allegory of war''], Lempertz 16 November 2013, Cologne Lot 1243</ref>

===Singeries===
Jan Breughel the Elder had contributed to the development of the genre of the 'monkey scene', also called '[[singerie]]' (a word, which in French means a 'comical grimace, behaviour or trick').<ref>[http://www.larousse.fr/dictionnaires/francais/singerie/72856 'Singerie'] in Larousse online {{in lang|fr}}</ref> Comical scenes with monkeys appearing in human attire and a human environment are a pictorial genre that was initiated in Flemish painting in the 16th century and was subsequently further developed in the 17th century.<ref name=bert>Bert Schepers, ''Monkey Madness in Seventeenth-Century Antwerp'', in: The Rubenianum Quarterly, 2012 2, p. 5</ref>  Monkeys appear in medieval cathedral sculpture as symbols of evil, while in Renaissance art they were a personification of man.<ref name=dor>[https://www.dorotheum.com/en/l/6718257 Jan Brueghel II, ''Allegory of Tulipomania''] at Dorotheum</ref> Monkeys were regarded as shameless and impish creatures and excellent imitators of human behaviour. These depictions of monkeys enacting various human roles were a playful metaphor for all the folly in the world.<ref name=rub>[http://www.rubenshuis.be/en/page/monkeys-feasting-singerie Jan Brueghel I, ''Monkeys feasting (singerie)''] at the Rubenshuis</ref>  Painters could use the figure of the monkey to express moral judgement and dubious traits of human behaviour.<ref name=dor/>
[[File:Allegorie der Tulipomanie.jpg|thumb|''Allegory of the Tulipomania'']]

The Flemish engraver [[Pieter van der Borcht the Elder|Pieter van der Borcht]] introduced singeries as an independent theme around 1575 through a series of prints, which were strongly embedded in the artistic tradition of [[Pieter Bruegel the Elder]]. These prints were widely disseminated causing the theme to be picked up by other Flemish artists. The Antwerp artist Frans Francken the Younger was the first one to do so. He was quickly followed by Jan Brueghel the Elder, [[Sebastiaen Vrancx]] and [[Jan van Kessel the Elder]]. Jan Brueghel the Elder's son-in-law [[David Teniers the Younger]] later became the principal practitioner of the genre and developed it further with his younger brother [[Abraham Teniers]]. Later in the 17th century [[Nicolaes van Verendael]] painted these 'monkey scenes' as well.<ref name=bert/>

Jan Brueghel the Younger also practised this genre.  An example is his ''Allegory of Tulipomania'' or ''Satire of Tulipomania'' of which he painted at least four versions, of which three place the scene outdoors and one situates it in a loggia. The painting mocks the obsession of Dutch society with the trade and speculation in tulips.<ref name=tul>[https://www.christies.com/en/lot/lot-5675738 Jan Brueghel II, ''An Allegory of Tulipomania''] at Christie's</ref> A lively trade in tulips and tulip bulbs had developed in the Dutch Republic with prices rising to unprecedented levels. Speculation was rife, resulting in big profits and big losses. Brueghel's ''Satire of Tulipomania'' pokes fun at the tulip traders. The version in the [[Frans Hals Museum]] in [[Haarlem]] shows monkeys negotiating, weighing bulbs, counting money and handling administrative tasks. The monkey on the left holds a list of bulb prices. On the right, a monkey is urinating on tulips, thus mocking this tulip mania.<ref name=fhm>[http://collectie.franshalsmuseum.nl/#/query/1768490f-db8e-4760-8a10-334f06ace0e0 Jan Brueghel II, ''Satire of Tulipomania ''] at the [[Frans Hals Museum]] in [[Haarlem]]</ref>

== Gallery ==
<gallery mode="packed" heights="200px" perrow="3"  caption="Selected works">
File:Pieter van Avont and Jan Breughel (II) - Flora in the Garden.jpg|''Flora in the Garden'', c. 1630, [[Kunsthistorisches Museum]]
File:Aeneas and the Sibyl in the Underworld MET DP234687.jpg|''Aeneas and the Sibyl in the Underworld'', c. 1630, [[Metropolitan Museum of Art]]
File:Jan Breughel (II) & Peter Paul Rubens (Studio) - Landscape with Diana and her Nymphs.jpg|''Landscape with Diana and her Nymphs'', figures by workshop of [[Peter Paul Rubens|Rubens]]
File:Verheerlijking van handel en wetenschap Rijksmuseum SK-A-3027.jpeg|''The apotheosis of commerce and science'', 1640s, [[Rijksmuseum]]
</gallery>

==Family tree==
{{Brueghel family tree}}

==References==
<references/>

==External links==
*{{Commons-inline|Category:Jan Brueghel (II)|Jan Brueghel the Younger}}

{{Pieter Bruegel (I)|state=collapsed}}
{{Authority control (arts)}}

{{DEFAULTSORT:Brueghel, Jan 2}}
[[Category:1601 births]]
[[Category:1678 deaths]]
[[Category:Flemish Baroque painters]]
[[Category:Flemish still life painters]]
[[Category:Flemish landscape painters]]
[[Category:Flemish history painters]]
[[Category:Flemish genre painters]]
[[Category:Painters from Antwerp]]
[[Category:Bruegel family]]