By Pieter Bruegel from around 1560, although I see it is now considered more likely a copy of Bruegel’s original rather than the original work itself. It’s a quite typical and almost humorous Bruegelian detail that we have to look closely to even spot Icarus in the painting, in the front right of the painting, as he disappears into the water, between the man on the shore and the galleon. There can be a homeliness and tenderness towards ordinary life in northern Renaissance and particularly Dutch painting of that time that gives a very refreshing contrast to the more overtly intellectual and often epic seriousness of the Italian Renaissance.
And now it’s just striking me that the treatment of Icarus by Bruegel in the painting may be intentional: that Bruegel is, rather than treating such ancient hallowed classical themes with traditional respect, is almost disparagingly dismissing them as an even silly detail within the natural life. And regardless of whether this is Bruegel’s overt intent or not, this is how the painting comes off. I don’t think anyone could seriously experience the tragedy of Icarus as somehow dominating this painting, in both external drama and psychological or emotional mood.
No comments:
Post a Comment