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the harvesters|pieter bruegel the elder|1565|19.164

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Artist Pieter Bruegel the Elder (Netherlandish, active by 1551, died 1569)
TitleThe Harvesters
Date1565
MediumOil on wood
DimensionsOverall, including added strips at top, bottom, and right, 46 7/8 x 63 3/4 in. (119 x 162 cm); original painted surface 45 7/8 x 62 7/8 in. (116.5 x 159.5 cm)
Credit LineRogers Fund, 1919
Accession Number19.164

Signatures, Inscriptions, and Markings
Gallery Label
Notes
Provenance
Exhibition History
References

Signatures, Inscriptions, and Markings

Signed and dated (lower right): BRVEGEL / [MD]LXV [now largely illegible]

NotesBruegel produced a series of paintings of the months for the wealthy Antwerp merchant and collector Niclaes Jongelink in 1565, or between March and the end of January of that year (before 1575 the Netherlands followed the Easter calendar which began on March 1). Of these pictures five are extant: our "Harvesters," sometimes called "The Corn Harvest"; "The Gloomy Day," "Hunters in the Snow," and "The Return of the Herd" (all Kunsthistorisches Museum, Vienna), and "Haymaking" or "The Hay Harvest" (formerly Château Raudnitz, now National Gallery, Prague). The series, which may have been part of a complex decorative scheme for Jongelink's home [see Refs. Menzel 1966, Mössner 1975, and Buchanan 1990], was pledged by the collector in February of 1565 (or 1566 new calendar) as collateral for a debt of Daniel de Bruyne, and is mentioned in this context in a document in the Antwerp city archives [see Ref. 1566]. Interpretation of this document has been controversial as it is ambiguous with regard to the number of pictures in the series; the pictures are mentioned as "de Tweelff maenden." Although some scholars believe that Jongelink owned twelve panels of the Months, most recent scholars believe that not more than six panels (each representing two months) could ever have existed. In 1594 six paintings of the twelve months were presented by officials of the City of Antwerp to Archduke Ernst, and by 1659 only five are mentioned in inventories of the Viennese Imperial collections. No other paintings have turned up that might have been part of the series, or that could be copies after such pictures. If the series did, as seems likely, include only six works representing the months or seasons, it appears to be among the earliest calendar series to divide the year into six rather than twelve parts. However, Novotny [see Ref. 1948, p. 35] mentions a contemporary series of Months by Marten van Cleve in which the months are paired up, and Blasius Hütter, secretary to Archduke Ernst, records the purchase in February 1594 of "six tableaux représentant les saisons" from a Namur painter named Jean Sayve [see Ref. Coremans 1847, p. 94]. Commenting on the latter, Coremans observes that "On divisait alors chez nous l'année en six parties, en distinguant le petit printemps (kleinlente) du grand-printemps (grootlente), et l'automne, de l'arrière-automne ou arrière-saison."

Beyond the question of the number of panels in the original series is the issue of which months are represented in each panel, and how literally the period of time covered should be understood. Hulin de Loo [see Ref. 1907] observes that it is not clear whether the series represents the seasons, or an incomplete series of the months. Tolnai (Tolnay) [see Ref. 1934] was one of the first scholars to suggest that the original series was a calendar cycle consisting of six pictures, each including the characteristic occupations of two successive months. In his view the year began (atypically) with December/January; our panel thus represented August/September. Glück [see Ref. 1932] believed the five extant works belonged to a never-completed series of twelve pictures of the months, then revised his position in 1936, agreeing with Tolnay that there were only six in the series. He believed, however, that the starting point was March/April following the calendar of the Spanish Netherlands; our picture would thus be July/August.

Delevoy [see Ref. 1959], Claessens and Rousseau [see Ref. 1969], and Ferino-Pagden et al. [see Ref. 1991] follow this view. Grossman [see Ref. 1955] reverts to the view that there were twelve panels altogether and observes that "In all calendar illustrations the series begin with January, even where the official year began at Easter." Held [see Ref. 1949] observes that Archduke Leopold Wilhelm, while he owned Bruegel's pictures, ordered a series of six tapestries rendering the twelve months from the designs of his court painter; Held, however, views the logical starting point as the months of January/February.

Van Miegroet [see Ref. 1986] published a drawing by Pieter Stevens (John and Alice Steiner collection, New York) comparable to "The Gloomy Day" and bearing the inscriptions "februarius" and "mert," lending support to Tolnay's position; Buchanan [see Ref. 1990] follows Van Miegroet and Tolnay. Novotny [see Ref. 1948], Genaille [see Ref. 1953], and Demus [see Ref. 1981] stress that this is not a clear-cut series of months but an extended seasons of the year, or as Genaille has suggested, "the characteristic moments of each season."

Iain Buchanan in 1990 discusses various "series" commissions for Jongelink's house that could well have been intended as an overall program or conceit: Bruegel's Months, the Seven Liberal Arts and the Labors of Hercules by Frans Floris, and Jacques Jonghelinck's sculpture series of the Seven Planets.

It is generally agreed that the missing picture represented the months of March/April. It may have resembled, at least in subject, Bruegel's drawing of "Spring" (Albertina, Vienna), which is inscribed by the artist "De Lenten Meert April Meij." Bruegel's second drawing for the same series, "Summer" (Kunsthalle, Hamburg), is a harvest scene with some elements in common with our picture; the composition, however, is quite different. The Autumn and Winter of this series were completed by Hans Bol, and the four were made into an engraved series of the Four Seasons, published by Hieronymus Cock in 1570.

Our painting has been identified variously as July, August, July/August, and August/September, following Tolnay's hypothesis.

Grossman [see Ref. 1959], Demus [see Ref. 1981], and Buchanan [see Ref. August 1990] all agree that the paintings of the seasons mentioned in inventories of the Brussels palace (January 12, 1659, nos. 101–104; between 1665/1670 and 1698, but probably before 1692, nos. 15–20; and April 1, 1732, nos. 7–10) must be either copies destroyed in the Brussels palace fire of 1731 or unrelated works not to be confused with Bruegel's pictures. Buchanan [p. 542, n. 13] states that the 1659 Brussels inventory was made after Archduke Leopold Wilhelm's return to Vienna.

A drawing after "The Harvesters" ascribed to P. Balten, late 16th century, is in the Kupferstichkabinett, Staatliche Museen zu Berlin (no. 13220, Der Monat Juli; see Ref. Bock and Rosenberg 1930). A small copy on copper by an anonymous Flemish painter was owned by the M.M.A. until 1978 when it was deaccessioned and sold at Parke-Bernet; for many years it had been ascribed to David Vinckboons. Glück [see Refs. 1937 and 1951] mentions a replica about the same size as the original in the collection of Count Blankenstein, Bavaria, a free copy by Pieter Brueghel the Younger (private collection, the Netherlands), and what he believes were two early copies of the composition, one listed in an inventory of Antoinette Wiael in 1627, and another (or possibly the same) in a sale of the P. Wouters collection, Brussels, April 1, 1794. Paintings of this subject by Pieter Brueghel the Younger and Abel Grimmer rely mostly on the Hamburg drawing although they also borrow elements from our painting.

Copies of four of the surviving panels (excluding "The Return of the Herd") were sold at Sotheby's, New York, as lot 71, "After Pieter Brueghel, the Elder," on October 6, 1995. At the time of the sale a card was placed by the lot stating that the attribution should read "After Pieter Brueghel the Elder, 19th/20th century." The pictures are described in the catalogue as oil on panel, each measuring 14 3/4 x 19 3/4 in.

A "Landscape with Harvesters" by Joos de Mompers (sale, Sotheby's, London, December 6, 1995, lot 36, 82 x 144 cm), from the Drury Lowe Collection at Locko Park, seems to have been inspired by our picture.

References

Document. February 21, 1565 [old calendar; 1566, new calendar] [Stadsarchief, Antwerp, Tresorij 1711, no. 1551; entire document published in Ref. Denucé 1932, p. 5; key phrases cited perhaps more accurately in Ref. van de Velde 1965, p. 123].

Blasius Hütter [secretary to Archduke Ernst]. Entry in account book. July 5, 1594 [Algemeen Rijksarchief, Brussels; Manuscrits Divers No. 2924, fol. 147v., 148].

Document. [1594] [Stadsarchief, Antwerp, Privilegekamer 1632, no. 36; cited in Ref. Buchanan 1990, p. 542 n. 10].

Posthumous inventory of the collection of Archduke Ernst. July 17, 1595 [Algemeen Rijksarchief, Brussels, Pap. d'État et de l'Aud., no. 1196].

Inventory of the collection of Archduke Leopold Wilhelm. 1659, nos. 582–86.

David Teniers the Younger. Theatrum Pictorium . . . Brussels, 1660, unpaginated, 2nd p. of text.

Chrétien de Mechel. Catalogue des tableaux de la Galerie Impériale et Royale de Vienne. Basel, 1784, p. 184, no. 62.

[A.] Coremans. "L'Archiduc Ernest, sa cour, ses dépenses, 1593–1595. D'après les comptes de Blaise Hütter, son secrétaire intime et premier valet de chambre." Compte-rendu des séances de la Commission royale d'histoire 13 ([1847]), pp. 101, 141.

"Inventar der Kunstsammlung des Erzherzogs Leopold Wilhelm von Österreich." Jahrbuch der kunsthistorischen Sammlungen des allerhöchsten Kaiserhauses 1 (1883), p. cxliii.

É. von Engerth. "Über die im Kunsthistorischen Museum neu zur Aufstellung gelangenden Gemälde, 3: Niederländische Schulen." Jahrbuch der kunsthistorischen Sammlungen des allerhöchsten Kaiserhauses 2 (1884), pp. 156–57.

Theodor von Frimmel. "Einleitung und Geschichte der Kaiserlichen Gemäldegalerie." Geschichte der Wiener Gemäldesammlungen. [erster halbband], 1, Leipzig, 1899, p. 473.

Georges H[ulin]. de Loo in René van Bastelaer. "Un Catalogue raisonné de son oeuvre peint." Peter Brvegel l'Ancien, son oeuvre et son temps. Brussels, 1907, pp. 302, 304, 343–44, no. B.34.

Willy Burger. "Pieter Bruegel d. Ä." Die Kunst für Alle 37 (1921–22), p. 242, ill. p. 239.

B[ryson]. B[urroughs]. "The Harvesters by Pieter Bruegel the Elder." Metropolitan Museum of Art Bulletin 16 (May 1921), pp. 96–99, 102–3, ill.

Max J. Friedländer. Pieter Bruegel. Berlin, 1921, pp. 102–6, fig. 57.

Friedrich Winkler. Die altniederländische Malerei: Die Malerei in Belgien und Holland von 1400–1600. Berlin, 1924, pp. 345–46, fig. 203.

[Tancred Borenius]. "'The Harvesters' by Pieter Breughel [sic]." Apollo 2 (1925), pp. 47–49, ill.

Willy Burger. Die Malerei in den Niederlanden 1400–1550. Munich, 1925, p. 144, pl. 235.

Art News 24, section 2 (June 12, 1926), ill. opp. p. 3.

Virgil Barker. "Pieter Bruegel the Elder: A Study of His Paintings." Arts 10 (September 1926), pp. 156, 160, 162–63, 175–76, ill.

Ludwig Baldass in Katalog der Gemäldegalerie. 1st ed. Vienna, 1928, p. 30.

Otto Benesch. "Augsburger Kunst der Spätgotik und Renaissance." Beiträge zur Geschichte der Deutschen Kunst. 2, Augsburg, 1928, pp. 229–71.

Elfried Bock and Jakob Rosenberg. "Die Zeichnungen Alter Meister in Kupferstichkabinett." Staatliche Museen zu Berlin: Die Niederländischen Meister. 1, Berlin, 1930, p. 22.

Édouard Michel. Bruegel. Paris, 1931, pp. 49–50, 132, no. 18, pl. 24.

Jean Denucé. The Antwerp Art-Galleries: Inventories of the Art-Collections in Antwerp in the 16th and 17th Centuries. The Hague, 1932, p. 5.

Gustav Glück. Bruegels Gemälde. Vienna, 1932, pp. 40–42, 60, 66–69, colorpl. 22.

Pantheon 12 (1933), ill. opp. p. 297.

Karl von Tolnai. "Studien zu den Gemälden P. Bruegels d. Ä." Jahrbuch der kunsthistorischen Sammlungen in Wien, n.s., 8 (1934), pp. 125–28.

Kurt Zoege von Manteuffel. Pieter Brueghel Landschaften. Berlin, 1934, pp. 13–15, colorpl. VIII.

Hans Tietze. Meisterwerke europäischer Malerei in Amerika. Vienna, 1935, p. 335, pl. 148 [English ed., "Masterpieces of European Painting in America," New York, 1939, p. 319, pl. 148].

Charles de Tolnay. Pierre Bruegel l'Ancien. Brussels, 1935, pp. 37–38, 40, 55, 69–70 nn. 85d–e, p. 84, no. 19, figs. 79–81 on pls. XLVIII and XLIX (overall and details).

Ernst Günter Troche. Niederländische Malerei. Berlin, 1935, p. 27, pl. 99.

Marcel Brion. Breughel. Paris, 1936, p. 33.

Paul Colin. Bruegel le vieux. Paris, 1936, pp. 131–32, 141–44, ill. p. 97.

Éd[ouard]. Ewbank. "Un Bock avec le peintre Adolphe Crespin, ou Breughel, peintre de la Suisse, Pourquoi pas." unknown revue published in Brussels 26 (February 28, 1936), pp. 522–23 [according to Ref. Deonna 1937, this article appeared in a revue published in Brussels].

Gustav Glück. Pieter Brueghel the Elder. New York, 1936, pp. 22–23, 43, no. 29, colorpls. 29 and 29a–c (overall and details).

Gustav Glück. Bilder aus Bruegels Bildern. Vienna, 1936, pp. 13–14, 20, colorpls. 28–30 (details).

Gustav Glück. Das Bruegel Buch. Vienna, 1936, pp. 20–22, no. 23, ill. (color); and in a slightly different edition of the same book, also Vienna, 1936, pp. 20–21, no. 25.

Édouard Michel. "Bruegel le Vieux a-t-il passé à Genève?" Gazette des beaux-arts, 6th ser., 15 (1936), pp. 105–7, fig. 1.

W. Deonna. "Bruegel le Vieux a-t-il passé par Genève?" Gazette des beaux-arts, 6th ser., 18 (1937), pp. 192–97, fig. 1 (detail).

Max J. Friedländer. "Pieter Bruegel und Nachträge zu den früheren Bänden." Die altniederländische Malerei. 14, Leiden, 1937, pp. 27–29, 60, no. 28, pl. XXVII.

Gustav Glück. Pieter Brueghel the Elder. Paris, [1937], pp. 19–20, 29, no. 32, ill. (color).

Gotthard Jedlicka. Pieter Bruegel: Der Maler in seiner Zeit. Erlenbach-Zürich, 1938, pp. 186–87, 189, 204–10, 495 n. 207.1, p. 496 nn. 219.1, 221.1, pp. 525–26, no. 20, pl. 68.

Charles de Tolnay. "La Seconde Tour de Babel de Pierre Bruegel l'Ancien." Annuaire des Musées Royaux des Beaux-Arts de Belgique 1 (1938), p. 121.

Jean Videpoche [Herbert Mortimer Alexander] with an essay by Aldous Huxley in The Elder Peter Bruegel 1528(?)–1569. New York, 1938, pp. 45, 54–55, ill. opp. p. 29 (color).

Introduction by Max Dvorák in Die Gemälde Peter Bruegels des Älteren. Vienna, 1941, pp. 19–20, 54, pls. 52–55 (color; overall and details).

Gustav Glück Introduction by Leo Bruhns in Das Bruegel Buch. rev. ed. Vienna, 1941, pp. 20, 22–24, no. 23, ill. (color).

Alphons Lhotsky. "Von den Anfängen bis zum Tode Kaiser Karls VI. 1740." Festschrift des Kunsthistorisches Museums in Wien 1891–1941: Festschrift des Kunsthistorischen Museums zur Feier des fünfzigjährigen Bestandes. part 2, 1, Vienna, 1941–45, pp. 215–17.

Charles Sheeler. "Notes on the Cover." Metropolitan Museum of Art Bulletin 1 (January 1943), inside front cover, ill. (overall, and color detail on front cover).

Margaret Breuning. "Metropolitan Re-Installs Its Treasures in Attractive Settings." Art Digest 18 (June 1, 1944), p. 26, ill. p. 6.

W. Vanbeselaere. Peter Bruegel en het Nederlandsche Manierisme. Tielt, Belgium, 1944, pp. 68–69, 71, 73–76, colorpl. 42 (opp. p. 54).

Gustave Vanzype. Bruegel le Vieux. Brussels, 1944, p. 76.

Otto Benesch. The Art of the Renaissance in Northern Europe. Cambridge, Mass., 1945, pp. 102, 104, 155 n. 27.

Paul Fierens. Bruegel (La Renaissance en Belgique). n.p., 1945, p. 154, pl. XV.

[Felix] Timmermans. Brvegel. [Turin], 1945, ill. opp. p. 64 (color detail) and opp. p. 176 (overall).

Paul Fierens. Bruegel l'ancien. Paris, 1946, pp. 4, 6.

Harry B. Wehle and Margaretta Salinger. The Metropolitan Museum of Art: A Catalogue of Early Flemish, Dutch and German Paintings. New York, 1947, pp. 156–59, ill.

"Notes on the Cover." Metropolitan Museum of Art Bulletin 7 (October 1948), inside front cover, ill. (color detail on cover).

Fritz Novotny. Die Monatsbilder Pieter Bruegels d. Ä. Vienna, 1948, pp. 1–41, no. 3, pls. 21–27 (overall and details).

Julius S. Held. "Book Reviews: Harry B. Wehle and Margaretta M. Salinger . . ., 1947." Art Bulletin 31 (June 1949), pp. 142–43.

Paul Fierens. Peter Bruegel: sa vie, son oeuvre, son temps. Paris, [1950], pp. 60, 63, 65, colorpl. XXIX.

Lillian Ross. "Profiles: How do you like it now, gentlemen?" New Yorker (May 13, 1950), pp. 36, 58 [reprinted as "Portrait of Hemingway," New York, 1961, p. 58].

Trenchard Cox. Pieter Bruegel (c. 1527–1569). London, 1951, pp. 5, 16, 24.

Gustav Glück. Das Grosse Bruegel-Werk. Vienna, 1951, pp. 29–30, 33–34, 68–73, colorpls. 28 (overall) and 28a–c (details).

E. van der Vossen. "De 'Maandenreeks' van Pieter Bruegel den Ouden." Oud-Holland, part 2, 66 (1951), pp. 103–16, ill.

Arthur Haberlandt. "Volksbrauch im Jahreslauf auf den 'Monatsbildern' Pieter Bruegels d. Ae." Österreichische Zeitschrift für Volkskunde, n.s., 6 (1952), pp. 43–58.

Art Treasures of the Metropolitan: A Selection from the European and Asiatic Collections of The Metropolitan Museum of Art. Exh. cat., The Metropolitan Museum of Art. New York, 1952, p. 227, colorpl. 105.

Robert L. Delevoy. Bruegel. Paris, 1953, pp. XVI–XVIII, pls. 24, 25 (overall and detail), ill. opp. pl. 24 (color detail).

Robert Genaille. Brvegel l'Ancien. Paris, 1953, pp. 36, 38–39, 62, 74 n. 61, pp. 90, 92, figs. 78–80 (overall and details, color and black and white).

Robert Genaille. Flemish Painting from Van Eyck to Brueghel. London, 1954, pp. 122, 144, ill. p. 124 (color detail).

Theodore Rousseau Jr. "A Guide to the Picture Galleries." Metropolitan Museum of Art Bulletin 12, part 2 (January 1954), pp. 3, 21, ill.

Ludwig Baldass. "Les Tableaux champêtres des Bassano et la peinture réaliste des pays-bas au XVIe siècle." Gazette des beaux-arts, 6th ser., 45 (March 1955), pp. 158–59.

F. Grossmann. Bruegel: The Paintings. London, [1955], pp. 19, 30–31, 36, 197–99, pls. 99–103 (overall and details).

Janis Krastins. "Flemish Harvest Scenes of the Fifteenth and Sixteenth Centuries, with Special Reference to Pieter Bruegel's 'Harvesters'." Master's thesis, Columbia University, 1955, pp. 17–53.

Marcel de Maeyer. Albrecht en Isabella en de Schilderkunst. Brussels, 1955, pp. 53, 259, 455–56.

Michael Auner. "Pieter Bruegel: Umrisse eines Lebensbildes." Jahrbuch der kunsthistorischen Sammlungen in Wien, n.s., 17? (1956), pp. 58, 70, 88, 91–92, 97.

Jan Bialostocki. Bruegel—Pejzazysta. Poznan, Poland, 1956, pp. 23–24, 27–30, 34, 36, 39, 46, 48.

Roberto Salvini. La pittura fiamminga. Milan, 1958, pp. 162–64, fig. 132 (color).

Robert L. Delevoy. Bruegel. [Geneva], 1959, pp. 101–2, 105–7, 113–15, ill. in color pp. 102, 108–9 (overall and details).

F. Grossmann. "New Light on Bruegel, I: Documents and Additions to the Oeuvre; Problems of Form." Burlington Magazine 101 (September/October 1959), p. 342.

Erik Larsen. Les primitifs flamands au Musée Metropolitain de New York. Utrecht, 1960, pp. 100, 133, fig. XXXVIII.

R. H. Wilenski. Flemish Painters, 1430–1830. New York, 1960, vol. 1, pp. 512–13; vol. 2, pl. 392.

All the Paintings of Pieter Bruegel. New York, 1961, pp. 20–21, 34, pls. 78–83 (overall and details).

Carl van de Velde. "The Labours of Hercules, a Lost Series of Paintings by Frans Floris." Burlington Magazine 107 (March 1965), pp. 114, 123.

Gerhard W. Menzel. Pieter Bruegel der Ältere. Leipzig, 1966, pp. 31, 43, 70–76, 96, colorpl. 56.

Piero Bianconi in L'opera completa di Bruegel. Milan, 1967, p. 103, no. 52D, ill. p. 103 and colorpls. XXXVI–XXXVII (overall and details).

Charles D. Cuttler. Northern Painting from Pucelle to Bruegel. New York, 1968, pp. 478–80, fig. 671.

Timothy Foote. The World of Bruegel c. 1525–1569. New York, 1968, pp. 165–66, 178–79, ill. in color (overall and detail).

Sarane Alexandrian. Pieter Brueghel the Elder. New York, 1969, p. 36, ill. on back cover (color).

Bob Claessens and Jeanne Rousseau. Our Bruegel. Antwerp, 1969, pp. 31–32, opp. p. 112 (in unpaginated chronology under 1565), colorpls. 32–32a (overall and detail).

Heinrich Gerhard Franz. Niederländische Landschaftsmalerei im Zeitalter des Manierismus. Graz, Austria, 1969, vol. 1, pp. 173–74, 176, 181; vol. 2, pl. 229.

Marguerite Kay. Bruegel. London, 1969, pp. 8, 15–16, 21, 29–30, colorpls. 13–14, 43 (overall and details).

Georges Marlier. Pierre Brueghel le Jeune. Brussels, 1969, pp. 226, 229–232.

Gert von der Osten and Horst Vey. Painting and Sculpture in Germany and the Netherlands 1500 to 1600. Baltimore, 1969, p. 303.

Françoise Popelier in Bruegel: The Painter and His World. Exh. cat., Musées Royaux des Beaux-Arts de Belgique, Musée de l'Art Ancien. Brussels, 1969, pp. 70–71, 94–95, no. 28, ill. pp. 70 and 90 (color detail).

Wolfgang Stechow. Pieter Bruegel the Elder. New York, [1969], pp. 19, 34–36, 39, 96, 98, 104, 106, 155, colorpls. 27 and 28 (overall and detail) and ill. p. 106 (detail).

Claus Virch. "The Story of Bruegel's Harvesters: A Curator's Coup." Connoisseur 172 (November 1969), pp. 223–27, colorpl. 4 (overall) and pls. 5–9 (overall at time of purchase by MMA; detail of signature; in eighteenth-century frame; two details under infrared light).

Calvin Tomkins. Merchants and Masterpieces: The Story of The Metropolitan Museum of Art. New York, 1970, pp. 232–33, 321 [rev., enl. ed., 1989].

Irving L. Zupnick. Bruegel. New York, 1970, pp. 26, 32, 43, ill.

Leo van Puyvelde. La Renaissance flamande de Bosch à Breughel. [Brussels], 1971, pp. 74–75.

K. Renger. "Bettler und Bauern bei Pieter Bruegel d. Ä." Kunstgeschichtliche Gesellschaft zu Berlin, Sitzungsberichte, n.s., 20 (1971/72), p. 10.

M[ax]. Seidel and R. H. Marijnissen. Bruegel. New York, 1971, pp. 17, 47–48, 58 nn. 47–48, pp. 244–45, 342, ill. pp. 244–46 (overall and details) and p. 247 (color detail).

Herbert L. Stein-Schneider. "Brueghel Revised." Arts Magazine 46 (April 1972), pp. 36–37, 39–40, ill. (color).

F. Grossmann. Pieter Bruegel: Complete Edition of the Paintings. 3rd ed., rev. London, 1973, pp. 27, 45, 197–98, colorpl. 101 (overall), and pls. 102, 105–6 (details).

Jacques Lavalleye in An Illustrated Inventory of Famous Dismembered Works of Art: European Painting. Paris, 1974, p. 54, fig. 5.

W. Mössner. "Studien zur Farbe bei Pieter Brueghel d. Ä." PhD diss., University of Würzburg, 1975, p. 102 n. 86.

V. Denis. La peinture flamande 15e–16e–17e siècles. Brussels, 1976, p. 179.

Max J. Friedländer. Early Netherlandish Painting. 14, New York, 1976, pp. 26, 44, no. 28, pl. 36.

Claude Mettra. Bruegel. Paris, 1976, pp. 19–20, and unpaginated (two pages of text near ill.), ill. (color).

Walter S. Gibson. Bruegel. New York, 1977, pp. 147–48, 154, 156–58, pls. 110 and 128 (overall and color detail).

Pieter Bruegel der Ältere um 1525–1569. Munich, 1977, pp. 7, 9, 11, 13, ill. (color).

Richard E. G. Tyler. "Rubens' 'Château de Steen'." Connoisseur 195 (August 1977), pp. 275–76 n. 10.

Justus Müller Hofstede and Matthias Winner. "Zur Interpretation von Pieter Bruegels Landschaft: Ästhetischer Landschaftsbegriff und Stoische Weltbetrachtung." Pieter Bruegel und seine Welt. Berlin, 1979, p. 83 n. 22, p. 85 n. 26, p. 106 n. 120, pp. 116, 125–27, 138 n. 260, pp. 140–41.

Jan Theuwissen. "Volkskundliche Aspekte im Werke Pieter Bruegels." Pieter Bruegel und seine Welt. Berlin, 1979, pp. 178, 184.

Tiziana Frati. Bruegel: The Complete Paintings. London, 1980, pp. 8, 56, ill. p. 53 (color detail) and p. 60 (overall).

Fritz Grossmann in Bruegel: Une Dynastie de peintres. Exh. cat., Palais des Beaux-Arts. Brussels, 1980, pp. 33, 41, 44.

Howard Hibbard. The Metropolitan Museum of Art. New York, 1980, pp. 273, 276, 305, figs. 488, 495 (overall and color detail).

M. J. C. Visser. Pieter Bruegel: Een nieuwe interpretatie. Zutphen, The Netherlands, [198-], pp. 80–82, ill. p. 83 (color).

Gabriel P. Weisberg. The Realist Tradition: French Painting and Drawing 1830–1900. Exh. cat., Cleveland Museum of Art. Cleveland, 1980, p. 82.

Piero Bianconi in Tout l'oeuvre peint de Bruegel l'Ancien. rev. ed. Paris, 1981, pp. 102–3, no. 52D, ill. p. 103 and pls. XXXVI–XXXVII (overall and color details).

Klaus Demus in Flämische Malerei von Jan van Eyck bis Pieter Bruegel d. Ä. Vienna, 1981, pp. 86–94.

Robert Genaille. "Le 'Dénombrement de Bethléem' et la permanence des goûts anversois chez Brueghel l'Ancien." Jaarboek van het Koninklijk Museum voor Schone Kunsten Antwerpen (1981), p. 64.

Walter S. Gibson. "In Detail: Pieter Bruegel's 'The Harvesters'." Portfolio (May/June 1981), pp. 40–45, ill. in color (overall and detail).

Keith Roberts. Bruegel. rev. ed. Oxford, 1982, p. 29, no. 33, fig. 32 (detail), and colorpl. 33.

Rüdiger an der Heiden. Pieter Bruegel der Ältere: Das Schlaraffenland und der Studienkopf einer Bäuerin in der Alten Pinakothek. Munich, 1985, pp. 25–26, fig. 22 (detail).

James Snyder. Northern Renaissance Art: Painting, Sculpture, the Graphic Arts from 1350 to 1575. New York, 1985, pp. 506–7, fig. 576.

Robert Lawson-Peebles. "William Carlos Williams' 'Pictures from Brueghel'." Word & Image 2 (January-March 1986), pp. 18–21, p. 22 n. 1.

Hans J. van Miegroet. "The Twelve Months Reconsidered: How a Drawing by Pieter Stevens Clarifies a Bruegel Enigma." Simiolus 16, no. 1 (1986), pp. 29–35, ill.

H. Stein-Schneider. "Pieter Bruegel: peintre hérétique, illustrateur du message Familiste." Gazette des beaux-arts, 6th ser., 107 (February 1986), p. 73.

Klaus Demus in "Pierre Bruegel l'Ancien." La Peinture flamande au Kunsthistorisches Museum de Vienne. Antwerp, 1987, pp. 82, 84, 86.

Simon Schama et al. in Masters of 17th-Century Dutch Landscape Painting. Exh. cat., Rijksmuseum, Amsterdam. Boston, 1987, pp. 66, 446, fig. 3.

Karl Schütz in "Histoire de la collection flamande de la Galerie du Kunsthistorisches Museum de Vienne." La Peinture flamande au Kunsthistorisches Museum de Vienne. Antwerp, 1987, p. 9.

Introduction by James Snyder in The Metropolitan Museum of Art: The Renaissance in the North. New York, 1987, pp. 16–17, 71–75, ill. (color, overall and detail).

Klaus Ertz. Pieter Brueghel der Jüngere (1564–1637/38): Die Gemälde mit kritischem Oeuvrekatalog. Lingen, Germany, 1988/2000, vol. 2, pp. 552, 562, 566, 594, 980 n. 700, fig. 457.

Robert Harbison. "Brueghel the Elder: Egypt on the Rhine." Art News 87, no. 10 (December 1988), ill. p. 92 (color detail).

et al. Bruegel: Tout l'oeuvre peint et dessiné. Antwerp, 1988, pp. 35, 252–53, 391–92, ill. pp. 257–59, 390, 401 (whole and details).

Jaromír Síp and Lubomír Slavícek. Die National Galerie in Prag. 1, Hanau, 1988, p. 122.

Walter S. Gibson. Bruegel. New York, 1989, pp. 94–95, 175, colorpl. 92.

Walter S. Gibson. "Mirror of the Earth": The World Landscape in Sixteenth-century Flemish Painting. Princeton, 1989, pp. 70–75, 125 nn. 97–99, fig. 5.30.

Jarmila Vacková. Nizozemské malírství 15. a 16. století: ceskoslovenské sbírky. Prague, 1989, pp. 185–87.

Iain Buchanan. "The Collection of Niclaes Jongelinck: I. 'Bacchus and the Planets' by Jacques Jongelinck." Burlington Magazine 132 (February 1990), pp. 102, 106, 112.

Iain Buchanan. "The Collection of Niclaes Jongelinck: II. The 'Months' by Pieter Bruegel the Elder." Burlington Magazine 132 (August 1990), pp. 541–50, figs. 18, 27 (overall and detail).

Lubomír Slavícek in Bruegel and Netherlandish Landscape Painting from the National Gallery Prague. Exh. cat., National Museum of Western Art. Tokyo, 1990, pp. 20, 133–35, ill.

Sylvia Ferino-Pagden et al. in Die Gemäldegalerie des Kunsthistorischen Museums in Wien: Verzeichnis der Gemälde. Vienna, 1991, p. 36.

Walter S. Gibson. "I. Bruegel and the Peasants: A Problem of Interpretation." Pieter Bruegel the Elder: Two Studies. Lawrence, Kans., 1991, p. 35.

Jane ten Brink Goldsmith. "Pieter Bruegel the Elder and the Matter of Italy." Sixteenth Century Journal 23, no. 2 (Summer 1992), pp. 222, 227–31, ill.

Hans J. van Miegroet, Selected by Guy C. Bauman, and Walter A. Liedtke in Flemish Paintings in America: A Survey of Early Netherlandish and Flemish Paintings in the Public Collections of North America. Antwerp, 1992, pp. 24, 135–37, ill. (color, overall and details) and frontispiece (color).

Christopher Braider. Refiguring the Real: Picture and Modernity in Word and Image 1400–1700. Princeton, 1993, pp. 72–73, 77, ill.

James A. W. Heffernan. Museum of Words: The Poetics of Ekphrasis from Homer to Ashbery. Chicago, 1993, p. 156, ill.

Richard Mühlberger. What Makes a Bruegel a Bruegel? New York, 1993, pp. 20, 28–31, ill. in color (overall and details).

Peter C. Sutton. The Age of Rubens. Exh. cat., Museum of Fine Arts, Boston. Boston, 1993, p. 69.

Margaret A. Sullivan. Bruegel's Peasants: Art and Audience in the Northern Renaissance. Cambridge, 1994, pp. 43–44.

Alexander Wied. Bruegel. Milan, 1994, pp. 25–27, 94, 103, 160, ill. p. 103 (color) and p. 160, no. 30.

Pierre Francastel. Bruegel. Paris, 1995, pp. 147–48, 153, 156, 196, 200, 211.

Luc Smolderen. "Tableaux de Jérôme Bosch, de Pierre Bruegel l'Ancien et de Frans Floris dispersés en vente publique à la Monnaie d'Anvers en 1572." Revue belge d'archéologie et d'histoire de l'art 64 (1995), p. 37.

J. Müller in Allgemeines Künstlerlexikon: die bildenden Künstler aller Zeiten und Völker. 14, Munich, 1996, p. 477.

Larry Silver. "Pieter Bruegel in the Capital of Capitalism." Nederlands Kunsthistorisch Jaarboek 47 (1996), pp. 132–33, 144.

Luc Smolderen. Jacques Jonghelinck: Sculpteur, médailleur et graveur de sceaux (1530–1606). Louvain-la-Neuve, 1996, pp. 10, 30.

Alexander Wied in The Dictionary of Art. 4, New York, 1996, pp. 900, 902.

Pieter Bruegel the Elder at the Kunsthistorisches Museum in Vienna. Milan, 1997, pp. 15, 84–89.

Walter S. Gibson. "Review of Jan de Jong, Mark Meadow, Herman Roodenburg and Frits Scholten (eds.), Pieter Bruegel, 1997 (Nederlands Kunsthistorisch Jarboek 47 [1996])." Simiolus 26, no. 1/2 (1998), p. 121.

John Oliver Hand. "New York. From Van Eyck to Bruegel: Early Netherlandish Painting in The Metropolitan Museum of Art." Burlington Magazine 140 (December 1998), pp. 856–57.

Mary Sprinson de Jesús et al. in From Van Eyck to Bruegel: Early Netherlandish Painting in The Metropolitan Museum of Art. Exh. cat., The Metropolitan Museum of Art. New York, 1998, pp. vii–viii, 33, 66–68, 74–75, 381–91, no. 102, ill. (whole and detail, in color).

Ethan Matt Kavaler. Pieter Bruegel: Parables of Order and Enterprise. Cambridge, 1999, p. 51.

Christian Vöhringer. Pieter Bruegel 1525/30–1569. Cologne, 1999, pp. 96, 98–100, ill. (color, the whole and detail).

Kim Woods in "The Status of the Artist in Northern Europe in the Sixteenth Century." The Changing Status of the Artist. New Haven, 1999, pp. 114–16, ill. (color).

Walter S. Gibson. Pleasant Places: The Rustic Landscape from Bruegel to Ruisdael. Berkeley, 2000, pp. 121, 130.

Claudia Goldstein. "Artifacts of Domestic Life: Bruegel's Paintings in the Flemish Home." Nederlands Kunsthistorisch Jaarboek 51 (2000), pp. 174, 184, fig. 4.

Walter A. Liedtke in The Oxford History of Western Art. New York, 2000, p. 242, ill. (color).

Reindert L. Falkenburg. "Pieter Bruegel's 'Series of the Seasons': On the Perception of Divine Order." Liber Amicorum Raphaël de Smedt [2, Artium Historia]. 2, Louvain, 2001, pp. 253–54, 272–76, ill. p. 257.

Nadine M. Orenstein et al. in Pieter Bruegel the Elder: Drawings and Prints. Exh. cat., The Metropolitan Museum of Art. New York, 2001, pp. 3, 8–9, 11 n. 24, p. 38 n. 92, p. 65, n. 13, p. 238, fig. 3 (color).

Inge Herold. Pieter Bruegel der Ältere: Die Jahreszeiten. Munich, 2002, pp. 44–57, 60–62, 89–95, 100, 103–10, 114 nn. 71, 73, ill. in color (overall and details).

Konrad Renger with Claudia Denk. Flämische Malerei des Barock in der Alten Pinakothek. Munich, 2002, p. 105.

Boudewijn Bakker Vrije Universiteit, Amsterdam. Landschap en Wereldbeeld: Van Van Eyck tot Rembrandt. Bossum, The Netherlands, 2004, pp. 201, 206–7, 418 n.517.

Burton L. Dunbar. The Collections of the Nelson-Atkins Museum of Art: German and Netherlandish Paintings, 1450–1600. Kansas City, Mo., 2005, p. 312, fig. 23g.

Astrid Reuter. "Frühling, Sommer, Herbst und Winter: Landschaft und Figur im Werk von David Teniers d. J." David Teniers der Jüngere, 1610–1690: Alltag und Vergnügen in Flandern. Exh. cat., Staatliche Kunsthalle Karlsruhe. Heidelberg, 2005, p. 62 n. 77.

Robert L. Bonn. Painting Life: The Art of Pieter Bruegel, the Elder. New York, 2006, pp. 20–23, 93, colorpl. 7.

Walter S. Gibson. Pieter Bruegel and the Art of Laughter. Berkeley, 2006, pp. 7, 62, 74, 107, 208 n. 5, figs. 38–39 (overall and detail).

Esmée Quodbach. "The Age of Rembrandt: Dutch Paintings in The Metropolitan Museum of Art." Metropolitan Museum of Art Bulletin 65 (Summer 2007), pp. 21–22.

Catherine Reynolds in Patinir: Essays and Critical Catalogue. Exh. cat., Museo Nacional del Prado. Madrid, 2007, p. 111.

"Monatsbilder." Wikipedia. 2008, ill. (color) [http://de.wikipedia.org/wiki/Monatsbilder].

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