475.Ĭlaessens, Bob, Peter Bruegel, Fonds Mercator, Amberes, 1969, pp. Fourteenth, Fifteenth and Sixteenth Centuries, Holt, Rinehart and Winston, Nueva York, 1968, pp. Pollock, R.A., Jock Macdonald, The National Gallery, Barcelona.Madrid, 1968.Ĭuttler, Charles D., Northern Painting. 66 / lám.26.įels, Florent, Eros Ou L'Amour Peintre, Editions du Cap, Montecarlo, 1968, pp. Tüngel, Richard, 400 Jahre Kunst, Kultur, und Geschichte im Prado, Schweizer Verlagshaus, Zurich, 1964, pp. Wilenski, R.H., Dutch Painting, Faber and Faber, Londres, 1945, pp. 32.įaure, Élie, Historia del arte, Editorial Poseidon, Buenos Aires, 1944, pp. Noul, M., Sotomayor, F., Muguruza, P., Les chefs-d'oeuvre du Musée du Prado, Musée d'Art et d'Histoire, Ginebra, 1939, pp. Glück, Gustav, Bruegels Gemalde, Anton Schroll & Co., Viena, 1932, pp. 8.įriedländer, Max J., Pieter Bruegel, Im Propylaen, Berlin, 1921, pp. 32.īernard, Charles, Pierre Bruegel L'Ancien, Cieg.
Son Oeuvre et Son Temps, G.Van Oest and Cie., Bruselas, 1907, pp. 50.īastelaer, Rene Van, Peter Bruegel L'Ancien. Inventario de Fernando VII, Real sitio de La Granja de San Ildefonso, Madrid, 1814, pp. Inventario General de las Pinturas, Alhajas y Muebles que existen en el Real Palacio de San Ildefonso., Madrid, 1774, pp. This painting belonged to Queen Elizabeth of Farnese and was at the La Granja Palace in 1745. The profusion of scenes and moralizing sense applied by the artists are part of Hieronymous Bosch´s influence on this work. This scene is influenced by both the medieval tradition of the Dance of Death and by depictions of the Triumph of Death in Italian painting. Bruegel casts the entire work in a reddish-brown tone that gives the scene an infernal aspect appropriate for the subject at hand. This painting depicts a customary theme in medieval literature: the dance of Death, which was frequently used by Northern artists. Only a pair of lovers, at the lower right, remains outside the future they too will have to suffer. Some attempt to struggle against their dark destiny while others are resigned to their fate. All of the social institutions are included in this composition and neither power nor devotion can save them. The latter are led to an enormous coffin with no hope for salvation. In the foreground, Death leads his armies from his reddish horse, destroying the world of the living. The background is a barren landscape in which scenes of destruction are still taking place. In this moral work, the triumph of Death over mundane things is symbolized by a large army of skeletons razing the Earth.
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