File:Pieter Brueghel de Jonge - De betaling van de Tienden (1618).jpg
Original file (3,200 × 2,262 pixels, file size: 1.36 MB, MIME type: image/jpeg)
Captions
Summary[edit]
Pieter Brueghel the Younger: The Payment of the Tithes ( ) | |||||||||||||||||||||||||||
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Artist |
artist QS:P170,Q255828 |
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Title |
The Payment of the Tithes label QS:Len,"The Payment of the Tithes"
label QS:Lnl,"De betaling van de Tienden" |
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Object type |
painting object_type QS:P31,Q3305213 |
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Date |
1618 date QS:P571,+1618-00-00T00:00:00Z/9 |
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Medium | oil on panelmedium QS:P186,Q296955;P186,Q106857709,P518,Q861259 | ||||||||||||||||||||||||||
Dimensions |
height: 58.7 cm (23.1 in); width: 82.5 cm (32.4 in) dimensions QS:P2048,58.7U174728 dimensions QS:P2049,82.5U174728 |
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Inscriptions |
Signature and date bottom left: P· BREVGHEL - 1618
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Source/Photographer | Christie's, LotFinder: entry 5701783 (sale 1136, lot 29, London, 2 July 2013) | ||||||||||||||||||||||||||
Other versions |
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Licensing[edit]
This is a faithful photographic reproduction of a two-dimensional, public domain work of art. The work of art itself is in the public domain for the following reason:
The official position taken by the Wikimedia Foundation is that "faithful reproductions of two-dimensional public domain works of art are public domain".
This photographic reproduction is therefore also considered to be in the public domain in the United States. In other jurisdictions, re-use of this content may be restricted; see Reuse of PD-Art photographs for details. |
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current | 01:33, 21 August 2013 | 3,200 × 2,262 (1.36 MB) | Botaurus (talk | contribs) | == {{int:filedesc}} == {{Artwork |artist = {{Creator: Pieter Brueghel the Younger}} |title = {{title|en=The Payment of the Tithes|nl=De betaling van de Tienden}} |description = |date = 1618 |medium ... |
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JPEG file comment | Notes This composition is unusual in Pieter II's oeuvre in that it is neither a direct copy of one of his father's compositions nor an adaptation of a Bruegel-like composition by one of his father's contemporaries - such as Martin van Cleve - or close followers. Indeed the Payment of Tithes is noticeably different from Pieter I's compositional, figural and facial types, and its derivation has therefore been the subject of much discussion. Georges Marlier's early death sadly prevented his discussing it in his monograph on the artist, and it was his posthumous editor, Jacqueline Folie, who first tackled the question in print in the catalogue of the 1993 Bonnefanten Museum exhibition Pieter Brueghel de Jonge. Folie proposed on the basis of visual clues that the lost prototype was French. One obvious clue was the fact that the calendar on the wall is written in French, although she conceded that the implication of this was undermined by the fact that French was at the time the language of the legal profession in the Netherlands; in addition, however, she noted that the peasants' short beards and close-cropped hair, as well as their costumes, were of a type not seen at the time in the Southern Netherlands (see O. Rogeau, 'Tu vas parler, Brueghel!', Le Vif. L'Express, 14 June 2002, pp. 32-3). Folie's proposal was supported by Ingeborg Krueger (... nimbt Gelt, Buter, Hüner, Endten ...' Zu Darstellungen des Bauernadvocaten von Pieter Brueghel d.J. und anderen', Das Rheinische Landesmuseum Bonn, Berichte aus der Arbeit des Museums, 3, 1995, 3, pp. 78-85), whilst Klaus Ertz, in his 2000 catalogue raisonné of Brueghel's work, hypothesized that the original might be a lost painting by the French artist Nicolas Bau |
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