Pieter Bruegel The Elder (i)
In medieval times, Cockaigne was a mythical land of plenty. Bruegel's depiction of Cockaigne and its residents is not meant to be a flattering one; he chooses rather a comic illustration of the spiritual emptiness believed to derive from gluttony and sloth, two of the seven deadly sins. In the painting, a clerk, a peasant farmer, and a soldier lie dozing on the ground underneath a table bound to a tree. The clerk's book, papers, ink and pen lie idle, as do the peasant's flail and the soldier's lance and gauntlet. A half-eaten egg in its shell runs between the peasant and the clerk. The table attached to the tree is laden with partly consumed food and drink. Behind the tree, a roasted fowl lays itself upon a silver platter, implying that it is ready to be eaten, and a roasted pig runs about with a carving knife already slipped under its skin. On the left, a knight emerges from a lean-to whose roof is covered in dishes of pie and pastry. On the right and behind the main action, a man clutching a spoon forces his way out of a large cloud of pudding, having eaten his way through it; he reaches for the bent branch of a tree in order to lower himself into Cockaigne. The fence enclosing the main scene behind the dozing trio is made of interwoven sausages. A partly-eaten wheel of cheese and a bush or tower of loaves of bread sit on the left and right of the scene. The arrangement of the clerk, peasant, and soldier underneath the tree suggests the men as the spokes of a wheel, where the tree is the hub. The roasted fowl lies in the place where a fourth spoke could be.
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Pieter Bruegel The Elder
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Artworks in museum
- Alte Pinakothek (Munich, Germany)
- Bibliothèque Nationale De France (Paris, France)
- British Museum (London, United Kingdom)
- Courtauld Institute Galleries (London, United Kingdom)
- Detroit Institute Of The Arts (Detroit, United States)
- Galleria Doria-Pamphilj (Italy)
- Hessisches Landesmuseum (Darmstadt, Germany)
- Kunsthistorisches Museum (Vienna, Austria)
- Metropolitan Museum Of Art (New York, United States)
- Musee Royaux Des Beaux-Arts De Belgique (Belgium)
- Museo Del Prado (Madrid, Spain)
- Museo Del Prado (Spain)
- Museo Nazionale Di Capodimonte (Italy)
- Museum Boijmans Van Beuningen (Rotterdam, Netherlands)
- Museum Mayer Van Den Bergh (Antwerp, Belgium)
- Museum Of Fine Arts (Boston, United States)
- Museum Of Fine Arts (Budapest, Hungary)
- Musée Du Louvre (Paris, France)
- National Gallery Of Art (Washington, United States)
- National Gallery (Prague, Czech Republic)
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In medieval times, Cockaigne was a mythical land of plenty. Bruegel's depiction of Cockaigne and its residents is not meant to be a flattering one; he chooses rather a comic illustration of the spiritual emptiness believed to derive from gluttony and sloth, two of the seven deadly sins. In the painting, a clerk, a peasant farmer, and a soldier lie dozing on the ground underneath a table bound to a tree. The clerk's book, papers, ink and pen lie idle, as do the peasant's flail and the soldier's lance and gauntlet. A half-eaten egg in its shell runs between the peasant and the clerk. The table attached to the tree is laden with partly consumed food and drink. Behind the tree, a roasted fowl lays itself upon a silver platter, implying that it is ready to be eaten, and a roasted pig runs about with a carving knife already slipped under its skin. On the left, a knight emerges from a lean-to whose roof is covered in dishes of pie and pastry. On the right and behind the main action, a man clutching a spoon forces his way out of a large cloud of pudding, having eaten his way through it; he reaches for the bent branch of a tree in order to lower himself into Cockaigne. The fence enclosing the main scene behind the dozing trio is made of interwoven sausages. A partly-eaten wheel of cheese and a bush or tower of loaves of bread sit on the left and right of the scene. The arrangement of the clerk, peasant, and soldier underneath the tree suggests the men as the spokes of a wheel, where the tree is the hub. The roasted fowl lies in the place where a fourth spoke could be.
Pieter Bruegel The Elder
Pieter Bruegel The Elder
Oil
Oil