JAN BRUEGHEL
Of Brueghel’s two sons, Pieter the younger, known as “Hell” Brueghel, is not represented at the Louvre, which, on the other hand, boasts possession of eight examples from the brush of “Peasant” Brueghel’s second son, Jan (1568–1625), known to fame as “Velvet” Brueghel, either owing to his love of splendid apparel or to the velvety softness of his brush. He began as a still-life and flower painter, in which capacity he often collaborated with Rubens. Having journeyed to Rome in 1593, he devoted himself more exclusively to landscape enlivened with many small figures, for which some Scriptural or mythological subject generally provided the excuse. Where his pictures contain figures on a larger scale, they are generally put in by Rubens, Rottenhammer, or Van Balen. The last-named is certainly responsible for the figures in Air (No. 1920), one of a series of the Four Elements, painted by Jan Brueghel for his Roman patron, Cardinal Federigo Borromeo, in 1621. To the same series belongs Earth, or The Earthly Paradise (No. 1919), a subject often repeated by him, as for instance in the versions at The Hague and at Budapest. Of his other pictures at the Louvre The Bridge of Talavera (No. 1925), and the Landscape (No. 1926), are signed and dated brueghel, 1619, and j. brueghel, 1620, respectively. The Battle of Arbela (No. 1921) is a characteristic work with many minutely wrought figures. The Landscapes (Nos. 1923 and 1924) are of doubtful authenticity, and were formerly attributed to Paul Bril. They are not now exhibited.
There are scarcely any Flemish characteristics in the art of Paul Bril (1556–1626), the younger brother and pupil of Matthias Bril. He was born at Antwerp, but worked nearly all his life in Rome. There is little to distinguish this precursor of Poussin in the art of landscape from his Italian contemporaries. In Duck Shooting (No. 1908), Diana and her Nymphs (No. 1909), and Pan and Syrinx (No. 1911) the figures are believed to have been painted in by Annibale Carracci. The Fishermen (No. 1910) bears his signature pa. brilli, and the date 1624.