Although
Bruegel was famous in his own lifetime, the archaic appearance
of much of his imagery and his disinclination to adopt
the idealized style of portraiture developed by the Italian
Renaissance artists had, at least in sophisticated circles,
an adverse effect on his reputation both during his lifetime
and after his death. In his paintings eyes are reduced
to round holes, heads resemble footballs, bodies look
like punched sacks of flour and clothing is nearly always
generalised.
This lack of emphasis on fine detail enables more stress
to be placed on the silhouette of the forms, and herein
are found some of his most characteristic and telling
effects. The flat patterns formed by the outline of the
figures are strikingly evident in such works as Hunters
in the Snow, where the stunning visual impact of the striding
figures, the dogs and the receding tree-trunks has earned
the artist justifiable fame. Since his works did not conform
to the aesthetic theories of the time, the early art historians
were inclined to disregard him and indeed there appears
to have been little serious academic study of his work
until the 20th century.
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