Return from the Kermesse

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Pieter Brueghel the Younger (Flemish, c. 1564-1636)

Hjemturen fra kermessen, 1620’erne
Olie på træ, 39,5 x 58 cm.

På en gråvejsdag er bønderne i løftet stemning på vej hjem fra kermessen, den årlige fest for kirkens indvielse. De knap hundrede figurer i billedet repræsenterer en lang række af sindsstemninger. Bønderne er gengivet som jævne mennesker med primitive lyster og behov, mens den lille gruppe af fine borgere forrest til venstre i maleriet optræder afmålt og roligt som en slags beskuere til de løsslupne festscenarier. Stemningen i værket vækker morskab og undren. Som beskuer trækker man uvilkårligt på smilebåndet af de karikerede og småerotiske scener. Men som med alle Brueghels malerier med Kermessen som motiv, gælder det, at det er gennemsyret af en stærk moralsk pointe, og det kan derfor betragtes som en satirisk kommentar til samtidens umådeholdne levned blandt bønderne.

Pieter Brueghel den Yngre var ældste søn af den berømte Pieter Bruegel den Ældre, også kaldet Bonde-Bruegel. I sit omfattende oeuvre specialiserede han sig i kopier og imitationer af sin fars genrebilleder med figurrige landsbykermesser og bondebryllupper, der blev en specialitet indenfor det flamske maleri langt ind i det 17. århundrede. Derudover producerede han karikaturer og helvedesfremstillinger. Hans malerier er ofte af lille format, nedtonede i koloritten med stærke konturlinjer og præget af stor detaljerigdom.


Return from the Kermesse, 1620s
Oil on panel, 39,5 x 58 cm.

On a grey day, the villagers are in high spirits on the way home from the kermesse, the anniversary of the founding of the church. The nearly one hundred figures in the image illustrate a wide range of emotional states. The villagers are depicted as plain people with primitive desires and needs, while the small group of finer citizens at the front left of the painting appear aloof and calm, acting as a kind of audience to the rowdy festival scenarios. The atmosphere in the work spurs laughter and wonder. As a viewer, one cannot help but smile at the caricatured and slightly erotic scenes. But as is the case with all of Brueghel’s paintings featuring the kermesse, it is permeated by a strong moral message and can therefore be considered a satirical commentary on the immoderate lifestyle among the peasant class at the time.

Pieter Brueghel the Younger was the oldest son of the renowned Pieter Bruegel the Older, also known as Peasant Bruegel. In his prolific oeuvre, he specialised in copies and imitations of his father’s genre paintings with densely populated village kermesses and peasant weddings that became a speciality in Flemish painting far into the seventeenth century. He also produced caricatures and illustrations of hell. His paintings are often small in format, subdued in colour, and marked by strong contour lines and great richness in detail.

Details

The prints are individually crafted in heavy duty 280 gram Museum Quality Art Print paper.

Ordered framed the artwork is custom mount, cut perfectly to your image
Delivered fully strung, ready for hanging

Created from high-quality wood, milled with simple clean lines and presented with a satin finish.
This frame has a square profile measuring 20mm (front face) by 23mm (depth from wall).

Available in black or natural.