Adoration of the Magi in winter. Adoration of the Magi in a landscape near Moscow

Neither the date and place of birth, nor the social background of Pieter Bruegel, the great 16th-century Netherlandish artist, are precisely known. For his ability to draw peasant types, he was called Bruegel “The Peasant,” and, apparently, this is how the assumption arose that he himself also came from peasants, although there is no evidence of this. He was born between 1525 and 1530, lived mainly in Antwerp, and died in Brussels in 1569. Minor details aside, that's all. what do we know about him? Therefore, any story about Bruegel's life inevitably comes down to more or less convincing guesses. In the history of art, Bruegel remains a mysterious figure, and his painting remains just as mysterious, difficult to understand, giving rise to contradictory interpretations.

However, we know that for some time Bruegel studied with the Antwerp painter Peter Cook, quite famous in the mid-16th century, a diligent imitator of Italian masters. Perhaps not without his influence, or simply following the custom of artists of his time, Bruegel traveled to Italy in 1552-1553. However, neither Cook’s lessons nor his own impressions of the painting of the Italian Renaissance left any traces on Bruegel’s first paintings. Probably, even before he managed to become a national artist, he already felt like one and did not consider it necessary to throw himself away, to learn from masters of another school and another culture. From his Italian trip, Bruegel brought back magnificent drawings of the Alpine mountains: inaccessible snowy peaks stretching into the sky - an image of loneliness and an image of freedom. The Alps remained forever in Bruegel's memory, dictating the high - as if from a bird's eye - viewpoint of many of his paintings and feeding his love for winter, for snow - the image of purity and the image of truth, cold, final and impartial.

Bruegel was a great truth-seeker of his era, that is, the eve of the Dutch Revolution and Reformation, unprecedented Spanish oppression and the dominance of the Catholic Church in the Netherlands; an era when old values ​​were already completely devalued, and new ones had not yet taken shape, and the ghost of order lived out its last days only due to the regime of military-religious dictatorship; an era when time, to use Shakespeare's metaphor, was dislocated in all its joints.

We can say that Bruegel did not have a teacher in the true sense of the word; he independently developed the artist in himself. But he undoubtedly had a predecessor, a forerunner, almost a double, an artist with whom he took into account, whom he always remembered, with whom he argued and whom, finally, he certainly surpassed. This artist Hieronymus Bosch (about 1450 - 1516), the creator of crafty, ambiguous and creepy paintings that resembled phantasmagoria, a science fiction artist and a mystical artist, who laughed at everything he seemed to believe, and hardly believed anything. According to the Austrian art critic G. Sedlmayer, Bosch’s paintings “had their own chaotic logic and were populated not just by ugly people and fallen angels, but mostly by unheard-of, sophisticated, corrosive monsters and ominous devices, surrounded by wild spaces and ruins, illuminated not by the sun and moon , but by fires and strange glows.”

Sedlmaier's description also applies to several of Bruegel's own paintings, such as "The Triumph of Death" or "Mad Greta", in which his inventiveness in terms of nightmarish details was not inferior to Bosch's. However, Bruegel was broader than Bosch, his consciousness was clearer, and his psyche was stronger. It is very likely that he himself saw his task as overcoming the “logic of chaos” of Bosch’s paintings, not to cross it out, not to reject it, but to overcome it. Therefore, the young Bruegel meticulously studied the works of Bosch - his engraving is known from the latter’s drawing “Big Fishes Devour Small Fishes.” Therefore, he learned many of the techniques of Bosch’s painting style. But Bruegel moved further and further away from Bosch’s predilection for arbitrariness, extravagance and the whims of unbridled imagination. Bruegel needed solid support and strived for the highest objectivity.

Each of Bruegel’s large paintings is inexhaustible in its semantic richness, abundance of motifs, and the finest connection of their interweavings. They can and should be looked at for a long time, with a good reproduction using a magnifying glass. It is impossible to talk about them briefly. Therefore, we will focus only on a few of them, created in the middle and second half of the 1560s, on those where the clarity of design and sad clarity of feeling - almost peace - are especially noticeable and define the whole.

This is, first of all, the brilliant painting “Hunters in the Snow” (1565), depicting the landscape of the Dutch winter with much greater detail and clarity than can be captured by the ordinary eye. Looking at “Hunters in the Snow,” notes the author of a book about Bruegel O. Sugrobova, we “discover that the transparency and clarity of the landscape are created to a large extent by the fact that the clarity of the image does not decrease as we move into depth.” And indeed, the figures of the hunters in the foreground are drawn in no more and no less detail than the figures of the skaters on the frozen pond far below; the space does not blur the contours or hide the details; the artist's gaze subjugates the space, and this produces a stunning effect. Peaked mountains covered in snow almost on the horizon, trees, mountains, birds numb in the frosty air, exist in this picture as equal parts of one whole; The world under Bruegel’s gaze is holistic and unified, which means it is justified in every detail. Justification and acceptance of the world - this is the philosophical and moral meaning of this and other late paintings by Bruegel.

In 1566 - 1567, Bruegel created several paintings on gospel subjects: “The Census in Bethlehem”, “The Massacre of the Innocents” and the one in our reproduction, “The Adoration of the Magi in the Snow” (now it is in a private collection). At each of them, Bruegel presented the Gospel Bethlehem in the form of an ordinary Dutch village, showing the characteristic masonry of houses, the features of the landscape, and the appearance and occupations of the peasants with the most meticulous realism. This, of course, was not done without reason. As was customary at that time, Bruegel thus emphasized the universal meaning of the Gospel events: every Christian believed that the earthly history of Christ, from birth to death on Calvary, lasts and repeats itself again and again. And if Joseph and Mary, fleeing to Egypt to save the infant Christ from death, were written in the “Census in Bethlehem” in the guise of simple peasants, almost the same as everyone else, then in the “Massacre of the Innocents” the leader of the Roman legionnaires in armor and with pikes - a tall old man, dressed in black - looked very much like the ferocious Spaniard Duke of Alba, from whose bloody reprisals the Dutch cities and villages groaned.

And all this - against the backdrop of a pristine snow cover, on which people and horsemen turn black. Under a light snow swirling in the air, Bruegel wrote “The Adoration of the Magi in the Snow,” that is, the Eastern magicians who brought gifts to the baby Jesus. The miraculous event that brought together this crowd of people is almost unnoticeable in the midst of everyday worries: some people are scooping water from an ice hole and carrying it; a child rides on the ice on a sled, or rather on an ice rink; passers-by and soldiers with halberds huddled in the cold; merchants drive horses with heavy luggage, as if nothing had happened that could change the course of everyday life. Again and again we peer at the picture, trying to penetrate the author’s intention, trying to understand the birth of the harmony and beauty of the composition, the sound of high, majestic music. What is the secret of combining high and low, poetry and everyday life? More and more generations of art lovers will be drawn to Bruegel’s canvas by the desire to solve this riddle.

V. ALEXEEV
Magazine "Family and School"

"The Magi are not afraid of mighty lords,
But they don’t need a princely gift;
Their prophetic language is truthful and free
And am friendly with the will of heaven."

The mention of the Magi forces us to turn to the story of the birth of Jesus Christ. However, the Bible says little about these strangers. Christmas was described by the two evangelists Luke and Matthew. But Luke, in general, does not mention a word about the Magi. And Matthew devotes only 12 stanzas to them, in which information about the travelers is very scanty: the author does not indicate their number, and does not even name names.

However, we learn that the Magi arrived in Jerusalem from the East, guided by the New Star (the sign of the king's birth). Wanting to get help, the wanderers go to the palace of Herod (ruler of Judea 37-34 BC). Herod, seeing a rival in the new king, decides to destroy Him, for this he orders the wise men to deliver the found Baby to the palace, supposedly so that Herod himself was able to pay honors to the future king. And the wanderers, having received the order of the ruler of Judea, set off on their further journey.

The Magi met Christ at the place where the New Star stopped. They brought gifts to the Child: gold, frankincense and myrrh. Having received a warning in a dream, the wise men did not return to Herod.

This is the story Matthew brings to us. However, as it turns out, this is not the only mention of the Magi in the Bible. You can also find a prophecy about their appearance in the Old Testament. So in the Prophecy of Isaiah (60:6) it is said, “All of them will come from Sheba, bringing gold and incense, and will proclaim the glory of the Lord.” And Psalm (71:10 -11) “The kings of Farsia and the islands will bring Him tribute; the kings of Arabia and Sheba will bring gifts; and all kings will worship Him, all nations will serve Him.” This is how the images of the Magi received royal titles.

In general, the Magi were well known in the ancient world. They stood on a par with magicians, priests, and astrologers. They were most likely members of a priestly caste, presumably Zoroastrianism, the religion of Ancient Persia. After the Persian conquest of Babylon (6th century BC), their religions mixed, and admiration for the Magi gave way to mistrust: the people equated them with swindlers and charlatans. The Acts of the Apostles (8:9-24) mentions the sorcerer Simon, who is trying to buy from St. Peter a gift “allowing people to give the Holy Spirit by laying hands on them,” that is, the Gift of God.

In the 8th century AD The three wise men, in addition to the royal rank, acquired both names and lands. Bithisarea (Balthasar or Belshazzar) became king of Arabia; Melichior (Melchior) - Persia; Gathaspa (Gaspar or Kaspar) - India.

Christian historians of the Middle Ages tell a legend about the meeting of the Magi. In the Turkish city of Sheva, more than half a century after their first meeting, the Magi gathered for the last time to bow to Christ, being at that time the deepest elders (more than 150 years).

Further history tells only about three bodies that were transferred from Sheva to Milan, and from there in the 12th century they were stolen by Frederick Barbarossa and transferred to Cologne. This is how the Magi received the name of the Cologne kings. Their supposed remains are still kept in the Cathedral.

However, the records of Marco Polo (1254-1324) also contain descriptions of the burials of the biblical Magi. So, while in Sawa (a city located southwest of Tehran), the traveler saw three separate decorated tombs, the bodies in which were not touched by decomposition, “completely intact with hair and beards.” During the time of Marco Polo, there were still many legends about the three wanderers in Sava, one of which says that each of the kings, seeing the Baby, found in Jesus a striking resemblance to himself.

This is how the plot of 12 verses of the Bible scattered into many stories that complement or refute each other. And the theme “Adoration of the Magi” became the motive for the work of masters of the Middle Ages, Renaissance and subsequent eras.

Three pictures are interesting.

Pieter Bruegel the Elder (Muzhitsky) turned to the biblical plot of the Adoration of the Magi in his paintings twice during his life: in 1564 - the well-known painting “Adoration of the Magi”, stored in the collection of the London National Gallery, and in 1567 - the less famous painting “Adoration of the Magi in a winter landscape" owned by the Oskar Reinhard Foundation.

Pieter Bruegel. Pieter Bruegel the Elder (1525-1569)

Adoration of the Magi
1564. National Gallery, London.

Art of the Netherlands 16th century
The painting “Adoration of the Magi” dates back to 1564; the painting is based on a world biblical story. In the painting “The Adoration of the Magi,” the artist Pieter Bruegel allegorically showed that the birth of a child does not cause joy if war and death reign in the world; the compositional center of the painting, completely filled with people, is the sad figure of the Virgin Mary with the Child on her lap. She is wrapped in a blue cloak, and her face is almost invisible. Her figure, painted in cold colors, contrasts with the surroundings, painted in warm colors, and therefore involuntarily attracts the viewer’s attention. Behind her, the figure of Joseph rises in a light silhouette, attentively listening to the whispering of a random passerby. Before Mary are three wise men. Two kneeling hands offer their gifts to the Christ Child. The expressions on their aged faces are like grimaces. On the left side of the Madonna is Belshazzar. His dark black face contrasts sharply with his white clothes. At the entrance, inside and around the stable where Mary gave birth to the Christ Child, there are crowds of people mocking the event, their expressions extremely cruel. Among them are many soldiers with pikes, the tips of which point to the sky. Thus, the artist seems to transfer the Birth of Christ to the contemporary, war-torn Netherlands. Bruegel's artistic images are overloaded with semantic content: hints of topicality, biblical allegory, play of the artist's own imagination - all this is included in the tight confines of one work. Bruegel's creations require intense attention from the viewer, disturb with their ambiguity, and awaken the imagination. All this gives his painting “The Adoration of the Magi”, which is kept in the London National Gallery, the deepest meaning.

Adoration of the Magi in a winter landscape
1567. Collection of Oskar Reinhard.

Pieter Bruegel the Elder

Pieter Bruegel’s painting “The Adoration of the Magi in a Winter Landscape” was created based on a famous biblical story, popular in Western European art. In Bruegel’s work, the winter landscape of the painting goes back to the realities of Dutch painting. In Pieter Bruegel’s painting “The Adoration of the Magi in a Winter Landscape,” the viewer’s attention is drawn to the winter landscape and to the people fleeing the winter cold. The entire area of ​​the painting by Pieter Bruegel the Elder is filled with a winter landscape with snow and clear silhouettes of bare trees, with many figures of bustling people, and only somewhere in the lower left corner are the Magi worshiping the Child. If you don’t know the title of the painting, it’s quite difficult to see the gospel story in this snowy Dutch landscape. The painting “Census in Bethlehem” also tells in detail about the world of Dutch peasants of the 16th century: about children playing on the ice, about village architecture, and Joseph, bent under the weight of carpenter’s tools, and Mary, wrapped in a thick gray blanket, are no different from people gathered in the square, and are not immediately noticeable.

PETER BRUEGEL THE YOUNGER (1564- 1638)
Dutch school
Adoration of the Magi
Repetition of the painting by Pieter Bruegel the Elder
State Hermitage Museum

Pieter Bruegel the Younger, the son of the great Dutch artist Pieter Bruegel the Elder (1525-1569), not possessing his father’s talent, often varied his motifs or, on the contrary, repeated his paintings with great care.

A small square of a small northern town. Winter, cloudy morning, snowing. People are busy with their everyday affairs: cutting off tree branches, carrying water from an ice hole, hurrying somewhere. At first glance, it cannot occur to the viewer that some important event is happening here. Only the presence of mules in precious red blankets woven with gold in the square makes him pay attention to the crowd besieging the building on the left. This is how Pieter Bruegel the Elder depicted the biblical scene of the worship of the Magi.
In Bruegel’s interpretation, the Magi in their luxurious clothes hardly stand out from the crowded crowd, Mary and the baby turn into small, barely noticeable figures. Everyday life takes on the main significance in the picture: active, fussy, everyday, but necessary, not stopping for a minute, connecting the individual, society and nature into a single whole. Bruegel interpreted pictures of biblical events as scenes that he saw in reality.

The younger Pieter Bruegel left for his descendants a copy of his father's first painting about the worship of the Magi. This copy is in the Hermitage. If you look closely at the son’s copy and compare it with the father’s work, you will notice the small differences that were introduced into the picture by the copyist. There is nothing fundamental about them, but the comparison is interesting.

The most famous version of "The Adoration of the Magi" by Pieter Bruegel the Elder is not at all similar to the version in the "winter landscape". This is a completely different picture: a different composition, different colors, different light, a different semantic background. This is a completely different, not traditional Bruegel. It is believed that with this work Peter confessed his love for his wife Maiken.

The lesser-known version, “The Adoration of the Magi in a Winter Landscape,” in my opinion, is more classic in Bruegel’s style and can be placed on a par with his works such as “The Massacre of the Innocents” and “The Census in Bethlehem.” And I like her better.

Pieter Bruegel the Elder. Adoration of the Magi 1564. Oil on wood. 111.1x83.2.
London National Gallery, London

First of all, I wanted to consider this work because Pieter Bruegel depicted his young wife Maiken in the image of the Mother of God.

The artist turned to the Gospel story of the worship of the Magi three times. The first painting, housed in the Royal Museum of Fine Arts in Brussels, was created between 1556–1562. It was painted not on a wooden board, but on canvas and is rather poorly preserved. The second is presented here, and the third, located in the Oskar Reinart Collection in Winterthur, was executed in 1567.

At first glance, it seems that this work corresponds to Catholic iconography: the Holy Family is in the center, the Child is in the arms of the Virgin Mary, part of Her face is covered with a veil, Joseph is behind, the Magi present gifts, as usual, the eldest, kneeling Kaspar, is gold. In the minds of people since the Middle Ages, the Magi symbolized the three then known parts of the world - Europe, Asia and Africa. Thus, Balthasar was portrayed as black and personified Africa.
Influenced by the style of Hieronymus Bosch, he paints a picture that does not convey the joy of the birth of a baby, and everyone present, including the Virgin Mary, is sad. Together with Jesus, she is the key figure of the composition, and it was her clothing that the artist depicted in blue, which is cold and intended to convey sadness. The man in the green scarf whispers something to Joseph, who leaned towards him and closed his eyes, displaying indifference to what was happening on his face. At the entrance to the stable and around Mary and the baby, Joseph, the Magi and the dark-skinned Belshazzar there are people and soldiers, on whose faces the artist depicted irony and gloating

Despite all the traditional nature of the picture, the believers did not accept it: while the cartoonish images of the minor participants in the action could still be tolerated, the image of Joseph was unacceptable. He does not radiate piety, but, on the contrary, clearly demonstrates complete indifference to what is happening. In this interpretation of the canonical plot - the whole of Bruegel. The picture was received rather coldly by Catholic society, since it was full of irony and anti-church content.

PERSONAL LIFE OF BRUEGEL.

Bruegel married late only in 1563, six years before his death, proposes to the one he fell in love with as a girl, when he carried her in his arms. This is Maria, at home Maiken, the daughter of his unforgettable teacher Peter Cook Van Aelst, who has been dead for a long time. . They got married in the Notre-Dame de la Chapelle church. The artist's family lived not far from the temple, on Hout Street.

Bruegel makes his first confession to his future wife in the painting “The Adoration of the Magi,” where Maiken appears in the image of the Mother of God. And this Queen of Heaven is so modest, so shy, that there is no doubt: the artist wanted his model to be recognized. And Miken recognizes himself. And, not at all embarrassed by the huge difference in age, he extends his tender and faithful hand to the lonely Bruegel.

Pieter Bruegel moves to Brussels, to the Maiken house. Happy and inspired, he is now looking for a way out of the hateful game of skeptic and joker in painting. And he finds it in the friendship of the class from which he once left - among the peasants. A man of exceptional spiritual subtlety, he discerned behind their rough unpretentiousness the only healthy force capable of resisting the pressure of universal Evil.

On September 5, 1569, master Pieter Bruegel passed away. The young widow buried him in the Brussels Cathedral of Notre Dame de la Chapelle.
Did faithful Maiken fulfill her husband’s strict orders to destroy his bold graphics? No one knows this, because the will of Pieter Bruegel the Elder has not survived. There were three children in the family. After the death of their mother in 1578, the artist’s children Peter, Jan and Marie were raised by their grandmother. Both sons became famous artists.

Prepared by Nadezhda Biryukova

One of the most famous poems by Boris Pasternak, “The Christmas Star,” was written in 1947 and was included in Zhivag’s cycle. Nikolai Zabolotsky said that “The Christmas Star” should be hung on the wall and every day you should take off your hat in front of this poem.

An explanation of this phrase by Zabolotsky and a hint on exactly how to read the text of “The Christmas Star” appear in the prose part of the novel: on the way to the Sventitsky Christmas tree, Yuri Zhivago thinks that “we need to write the Russian worship of the Magi, like the Dutch, with frost, wolves and dark spruce forest." Many years later, when Zhivago is in Varykino, this idea will be embodied in the “Christmas Star”.

“In Pasternak’s Christmas poem there is a lot of stuff in general - Italian painting, Bruegel, some dogs running, and so on and so forth. There’s already a Zamoskvoretsky landscape there.”

Joseph Brodsky

Many researchers also talk about the importance of a variety of visual quotes and various artistic concepts for understanding this text. Thus, behind the winter landscape of Peredelkin, a general cultural reading of the gospel story opens.

According to Valery Lepakhin, a researcher of Russian icon painting, to understand the composition of Pasternak’s text, one should remember the icon “The Nativity of Christ”:

“The poet’s gaze seems to make a circle along this compositional scheme - from the semantic center, which is the Baby, to the right to the shepherds, then up to the left - to the star, then even further to the left - to the wise men.”

Pasternak turns to iconography to convey the phenomenon of Christmas from the point of view of eternity - events do not follow one another, they exist parallel to each other:

Norwegian researcher Lillian Jurunn Helle sees in the poem features similar to Pieter Bruegel the Elder’s painting “The Adoration of the Magi in a Winter Landscape.” Following Bruegel, Pasternak combines the sacred and the everyday and shows how for ordinary people the Christmas mystery becomes a personal experience:

Shaking off the dust from the bed
And millet grains,
Watched from the cliff
Shepherds wake up in the midnight distance.

Elements of everyday life become part of the Christmas miracle, which, according to Valery Lepakhin, brings to mind Bosch’s “Adoration of the Magi”:

In the midst of the gray, ash-like pre-dawn haze
Drivers and sheep breeders trampled,
Pedestrians were arguing with the riders,
At a hollowed out watering hole
Camels brayed and donkeys kicked.

Norwegian Slavist Per Christian Enderle Norheim believes that the descriptions of the “Christmas Star” combine features of not only the Flemish, but also the Russian winter landscape. The writer Yakov Helemsky also notes that Pasternak captured the Russian worship of the Magi “against the native, Peredelkino background.” Brodsky is even more categorical: “Savrasov is peeking through.”

In the distance there was a field in the snow and a churchyard,
Fences, gravestones,
Shaft in a snowdrift,
And the sky above the cemetery is full of stars.

Adoration of the Magi. Fragment of a triptych by Andrea Mantegna. Approximately 1463© Wikimedia Foundation / Google Cultural Institute

Adoration of the Magi. Painting from the workshop of Giovanni Bellini. Approximately 1475–1480© The National Gallery, London

According to Brodsky, Italian artists are also visible in the poem - he names two names: Andrea Mantegna and Giovanni Bellini. The Italian Slavist Stefano Garzonio clarifies this observation and draws attention to the commonality of compositional structure and individual images between Pasternak’s text and Mantegna’s Adoration of the Magi, in particular in the following lines:

They were followed by gifts on camels.
And donkeys in harness, one small one
The other one was walking down the mountain in small steps.

And a strange vision of the coming time
Everything that came after stood up in the distance.

And only the Magi from the countless rabble
Mary let him into the hole in the rock.

“When I came out of the station building with a provincial canopy in some excise and customs style, something smooth quietly slid under my feet. Something malignantly dark, like dishwater, and touched by two or three sparkles of stars. It sank and rose almost indistinguishably and looked like a painting blackened by time in a swinging frame. It took me a while to realize that this image of Venice was Venice. That I am in it, that I don’t dream about it.
<…>
There is a special Christmas tree east, the east of the Pre-Raphaelites. There is an idea of ​​a starry night according to the legend of the worship of the Magi. There is an eternal Christmas relief: the surface of a gilded walnut spattered with blue paraffin. There are words: halva and Chaldea, magicians and magnesium, India and indigo. These include the color of Venice at night and its water reflections.”

The Hermitage collection contains several works by Pieter Bruegel the Younger, the son of my beloved Pieter Bruegel the Elder (Muzhitsky). In addition to the two Peters, two Jans were noted in the history of world art - Jan Brueghel the Elder and Jan Brueghel the Younger. Three of the Brueghels left behind paintings on the biblical subject of the Adoration of the Magi, and Pieter Bruegel the Elder did this twice during his life: in 1564 - the well-known painting "Adoration of the Magi", kept in the collection of the London National Gallery, and in 1567 - a less famous painting "Adoration of the Magi in a Winter Landscape", owned by the Oskar Reinhard Foundation.

The younger Pieter Bruegel left for his descendants a copy of his father's first painting about the worship of the Magi. This copy is in the Hermitage. If you look closely at the son’s copy and compare it with the father’s work, you will notice the small differences that were introduced into the picture by the copyist. There is nothing fundamental about them, but the comparison is interesting.

The most famous version of "The Adoration of the Magi" by Pieter Bruegel the Elder is not at all similar to the version in the "winter landscape". This is a completely different picture: a different composition, different colors, different light, a different semantic background. This is a completely different, not traditional Bruegel. It is believed that with this work Peter confessed his love for his wife Maiken.

The lesser-known version, “The Adoration of the Magi in a Winter Landscape,” in my opinion, is more classic in Bruegel’s style and can be placed on a par with his works such as “The Massacre of the Innocents” and “The Census in Bethlehem.” And I like her better.

Jan Brueghel the Elder (Velvet) also made his mark in art history with his painting “The Adoration of the Magi.” Of course, in the manner of his writing there are elements from the manner of Peter the Elder, but otherwise everything is not so piercing, everything is not so brilliant, everything is not so original. In addition to this painting, the Hermitage collection contains another painting of his - “Rest on the Flight to Egypt”, more than rightly first of all called “Forest Landscape”.

"Adoration of the Magi in a Winter Landscape"Pieter Bruegel the Elder (Muzhitsky)

Bruegel, Pieter the Elder.
Canvas, oil.
Netherlands. 1567.
Oskar Reinhard Foundation.

"Adoration of the Magi"Pieter Bruegel the Younger

Bruegel, Pieter the Younger.
Canvas, oil. 36x56 cm.
Netherlands. Second half of the 16th century.
State Hermitage Museum.
Source of admission to the museum: Museum of the Academy of Arts in Petrograd. 1922.
"Adoration of the Magi" by Jan Brueghel the Elder (Velvet)

Bruegel, Jan the Elder (Velvet).
Copper, oil. 26.5x35.2 cm.
Flanders. Between 1598-1600
State Hermitage Museum.
Source of museum acquisition: Sir Robert Walpole Collection at Houghton Hall. 1779.