Both were sought out by the elite of their day, including high-ranking politicians and famous humanists. Koerner connects the two artists via their patrons as well. Further to the similarity of the two artistвЂ™s paintings, Koerner points out that until fairly recently, major works by Bruegel were attributed to Bosch, including вЂњThe Triumph of DeathвЂќ in the Prado and вЂњThe Fall of The Rebel AngelsвЂќ in Brussels.Д«osch and BruegelвЂ™s painterly styles were similar too, in that both artists allowed the ground paint layer to penetrate the upper paint layer in certain sections, contributing to the final look of the pictures. Their paintings overload our senses with characters and figures that seem to stretch far beyond the limits of the physical works. In addition, Bosch and Bruegel filled their works with richly detailed, intricate figures. A birdвЂ™s-eye point of view is common to both artistвЂ™s compositions. Not only was Bosch and BruegelвЂ™s subject matter similar, but the gestalt of the paintings were also parallel. As Koerner notes, Bosch appears to have painted nearly all of the subjects now typically associated with European genre painting.

Lost paintings by Bosch also included subjects that are now closely associated with Bruegel, including вЂњpeasant dances and peasant weddings, a huge Battle between Carnival and Lent, a Tower of Babylon, a feast of Saint Martin and works on linen of beggars, merrymakersвЂќ and others. Koerner demonstrates that surviving paintings by both artists show a commonality of subjects demons, fools, and knaves (вЂњgluttons, lazybones, drunkards, dupes, thieves, bullies, charlatans and quacksвЂќ). Koerner constructs a compelling argument for this thesis, which is greatly enhanced by the bookвЂ™s abundant images from both Bosch and BruegelвЂ™s paintings. BruegelвЂ™s paintings, 50 years after Bosch, also contained вЂњundesirableвЂќ images, but instead of fantastic creatures, Bruegel focused on human foolishness in his depictions of peasants dancing and other imprudent antics. KoernerвЂ™s thesis is that the transition to secular painting had its roots in BoschвЂ™s depictions of demons and phantasmagoric creatures, which were representations of human weakness and sin (referred to as вЂњenemy paintingвЂќ). He chronicles the growth of secular painting, which later became known as вЂњgenre painting,вЂќ or works which portray everyday European life. KoernerвЂ™s beautifully illustrated book focuses on the rise of secular European art after centuriesвЂ™ of religious-themed works. Bosch and Bruegel: From Enemy Painting to Everyday Life

Pieter brugel the elderand bosch