Professor für Kunstgeschichte
September 2013 – November 2013
Pieter Bruegel the Elder: nature, artifice, and the redefinition of the commonplace
How do direct observation and aesthetic convention come together to provide evidence of the phenomenal world? Already in his own time Pieter Bruegel was regarded as an artist who gave evidence of his culture and his surroundings in an unmediated way, and yet to the modern eye his work seems to embrace two contradictory extremes. On the one hand, he is regarded as an acute observer of daily life and human foible, and on the other his manner of rendering is highly artificial, conventionalized, and caricatural. Bruegel’s art –fully anticipated, and yet utterly surprising – presents one aspect of the aesthetics of evidence with unusual clarity.
- Art of Northern Europe and the Renaissance
- The history of prints
- The early history and organization of collecting
The woodcut in fifteenth-century Europe, hg. v. Peter Parshall u. National Gallery of Art Washington, New Haven u.a.: Yale Univ. Press 2009.
The darker side of light. arts of privacy, 1850 – 1900, hg. v. Peter Parshall u. National Gallery of Art Washington, Farnham u.a.: Lund Humphries 2009.
Origins of European Printmaking. Fifteenth-century Woodcuts and Their Public, hg. v. Peter Parshall u. National Gallery of Art Washington, New Haven u.a.: Yale University Press 2005.
David Landau, Peter Parshall, The Renaissance Print. 1470-1550. New Haven u. London: Yale University Press 1994.