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Jay R. Brooks on Beer

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Stone To Seek Brewing Opportunity Abroad

December 22, 2009 By Jay Brooks

stone
Greg Koch and Steve Wagner, the founders of Stone Brewing after tweasing (twitter teasing) the news for weeks have announced a bold, audacious plan. After resisting sending their beer overseas, they’ve decided instead to consider opening a brewery there instead. So they’re initiating an open call from municipalities or even nations abroad to see what they might propose to entice them to take over an existing brewery or build a new one somewhere in Europe, Asia or wherever. In the video below, Greg and Steve explain the idea.

Stone to open a Brewery in Europe? from stonebrew on Vimeo.

This is a very exciting project for Steve and me…and all of us at Stone Brewing. We’re going to be learning quite a bit with this endeavor, first and foremost: Will we be welcome? We’re approaching this with no assumptions other than we’d like to consider any and all options (other than having our beers contract brewed by another brewery, as that’s simply not our style). Many of the countries of Europe have great brewing traditions. Some countries are also currently experiencing a bit of a resurgence of small, independent (and independent thinking) breweries. As anyone knows that has visited the Stone Brewing Co. and our attached restaurant – the Stone World Bistro & Gardens – where we have more Guest taps than we do of Stone, we enjoy sharing the camaraderie of great craft beers. We look forward to joining in the fight in Europe by doing our part to add to the growing trend towards unique, flavorful artisanal beers, as opposed to the mass-blandification efforts characterized by megabrand sameness!

-Greg Koch, CEO

Filed Under: Breweries, News Tagged With: California, Europe, Southern California, Video

Beer In Art #57: Kelly Murphy’s Wassailing

December 20, 2009 By Jay Brooks

art-beer
After a few more mature works recently, today’s work of art is more playful and child-like. It’s by Kelly Murphy, who primarily write and illustrates children’s books, along with freelance work in similar fields, like toys and film. In 2007, on her blog, Murphy shared her work, Wassailing.

Kelly_Murphy-wassail

Wassailing is, of course, a traditional English and European custom that took place around the holidays, sometime around Christmas and in other traditions into mid-January. To read more about it, there are interesting accounts at the Hymns and Carols of Christmas, About.com, Time Travel Britain and White Dragon.

There also the drink Wassail, which I wrote about a couple of years ago after the release of Full Sail’s Wassail at Here We Go a-WASSAIL-ing

As for Kelly Murphy, here’s some more info from her biography.

Kelly Murphy is an award-winning illustrator and animator working predominantly with traditional and mixed media. Born and raised in southeastern Massachusetts, USA, she studied illustration at the Rhode Island School of Design. Since earning a Bachelor of Fine Arts in 1999, Kelly has been actively freelancing across the various fields of editorial illustration, picture books and poster illustration as well as character design for both the film and toy industry. An accomplished children’s book author and illustrator, Kelly’s books have been published by America’s leading publishing houses and her tenth children book is already due to be available in the Fall of 2009.

And there’s a good overview of her other illustration, art and books at her website and her blog, Who the Sh*t Drank My Beer.

Filed Under: Art & Beer, Beers Tagged With: England, Europe, History

Beer In Ads #6: Biere d’Alsace

November 21, 2009 By Jay Brooks

ad-billboard
The artist for today’s ad was born in the Alsace, in 1873, in what is today part of France. But two years before he was born, it belonged to the German Empire, who had annexed it after the Franco-Prussian War that began in 1870. Why is that relevant? Because Jean-Jacques Waltz, better known as “Hansi,” grew up hating the Germans and early in his career drew editorial cartoons poking fun at them. This won him few friends in Germany and in fact he even spent time in jail, “imprisoned several times by German authorities for making fun of the German military and professors.” In addition to putting down his captors, he wrote and drew scenes extolling Alsace’s virtues. One of his most famous works was a history of Alsace for kids by “Uncle Hansi,” L’Historie d’Alssace. The ad today features a girl in the traditional costume of the Alsace, and in fact it shows up in a number of Hansi’s works. I’m not sure if the illustration is advertising for a specific brewery of just beer from the Alsace generally. There is a brewery in Luttenbach (near the border between France in Germany in the Alsace) today known as Les Caves de la Brasserie. The date in the star, 1648, seems to suggest an older brewery, one that perhaps is no longer with us.

Hansi's Biere d'Alsace

Filed Under: Art & Beer, Beers, Just For Fun Tagged With: Europe, France, Germany, History

Beer In Art #52: Ernst Henseler’s Beer Evening

November 15, 2009 By Jay Brooks

art-beer
Today’s work of art is straight out of Germany’s history pages, and in fact I found it at the German History in Documents and Images website. It was by a relatively obscure German artist named Ernst Henseler. About all I could find out about him is that he was born in 1852 and died in 1940. Though I called it “Beer Evening” above, today’s painting is really titled Bismarck in Conversation with Reichstag Deputies at a Parliamentary Soirée and is believed to have been painted in 1894.

Ernest Hensler: Beer Evening
The painting is an illustration for the section of the GHDI entitled “Forging an Empire: Bismarckian Germany (1866-1890)” and under the sub-heading “Parties and Political Mobilization.” This also included the following description of the events in the painting:

This painting by Ernst Henseler (b. 1852) shows a parliamentary “beer evening” in the Imperial chancellery. These soirées provided Bismarck with an opportunity to convince parliamentary friends and foes alike that his policies deserved support. Sometimes consensus-building flowed in the opposite direction. Note that beer was more plentiful than food on such occasions, perhaps to the disappointment of one of Bismarck’s dogs, who was also on the invitation list.

Filed Under: Art & Beer Tagged With: Europe, Germany, History

Beer In Art #51: Frederick Daniel Hardy’s Home Brewed Ale

November 8, 2009 By Jay Brooks

art-beer
For today’s work of art we revisit the Victorian Era, when most large households included a home brewery. The artist is Frederick Daniel Hardy and his painting is entitled Home Brewed Ale.

Hardy-Home_Brewed_Ale
Hardy was born in 1826 or 27 and lived until 1911. Born in Windsor, England, he was originally a musician for Queen Victoria before abandoning it to study art. This painting was created around 1884. Like this work, most of Hardy’s are scene of everyday life for ordinary people.

If you want to learn more about the artist, Wikipedia has a little information, but generally there’s not much about Hardy. You can see more of his work at Bridgeman Art.

Filed Under: Art & Beer Tagged With: England, Europe, Homebrewing

Beer In Art #50: Pieter Bruegel’s Peasant Dance

November 1, 2009 By Jay Brooks

art-beer
For today’s work of art we return to an old master, Pieter Bruegel (the Elder), considered by many to be the greatest Flemish sixteenth-century master. He was born in the Netherlands around 1525 and died in 1569. He was a Renaissance painter who began the Bruegel Dynasty that included six well-known artists. (It was originally spelled Brueghel, but in 1559 he stopped signing his paintings with the “h” in his last name). He was especially known for his landscape paintings that were populated by peasants, and in fact “is often credited as being the first Western painter to paint landscapes for their own sake, rather than as a backdrop for history painting.” Sadly, only 45 of his works survive to the present. In March, I featured his painting Harvesters, and today’s work by Brugel is entitled Peasant Dance, the original of which is at the Kunsthistorisches Museum in Vienna, Austria. It was painted in the last years of Bruegel’s life, most likely between 1566 and 1568.

Bruegel-peasant-dance

The Web Gallery of Art describes their interpretation on the meaning of Peasant Dance:

Like The Peasant Wedding, it is likely that Bruegel intended this painting to have a moral sense rather than simply being an affectionate portrayal of peasant life. Gluttony, lust and anger can all be identified in the picture. The man seated next to the bagpipe player wears a peacock feather in his hat, a symbol of vanity and pride. The occasion for the peasants’ revelry is a saint’s day, but the dancers turn their backs on the church and pay no attention whatsoever to the image of the Virgin which hangs on the tree. The prominence of the tavern makes it clear that they are preoccupied with material rather than spiritual matters.

But the Humanities Web describes in much less sinister terms. “The joviality of this picture is infectious. Bruegel’s eye objectively captures many scenes: cantankerous drunkards; a couple kissing; a feisty older man pulling a young peasant woman to join him in a dance; and children imitating their dancing elders.”

Encyclopedia.com also has a nice article on the artist, and indicate the importance that the Peasant Dance represented in Bruegel’s career:

The Peasant Dance (ca. 1566-1567) represents a new and important direction that Bruegel was to develop in the last years of his career. In this work the painter changed to a “large-figure” style in which highly animated peasants are organized to convey the rhythms and patterns of the dance. Also, by reducing forms to their elemental essences Bruegel achieved a clarity of design and coloration that has seldom been rivaled in Western painting.

If you want to learn more about the artist, Wikipedia, the Metropolitan Museum, Art Show Magazine, the Art Archive or the ArtCyclopedia are all good places to start. And to see more of his work, both Ricci-Art and Art Show Magazine have good collections, and Pieter-Bruegel-the-elder.org appears to have most of his known works.

Filed Under: Art & Beer Tagged With: Europe

Beer In Ads #2: The Spanish Senorita

October 22, 2009 By Jay Brooks

ad-billboard
Today’s beer ad is a beautiful illustration by Achille Mauzan, an Italian artist who created many posters and other illustrations during the Art Deco period from the 1920s-40s and beyond. He was born Luciano Achille Mauzan in the French Riviera but spent most of his life in Italy and Argentina. This ad was created for an unknown Spanish beer, depicting a senorita, “adorned in customary garb, having this brand fixed atop a staff-like scepter.”

Achille Mauzan: The Spanish Senorita

Filed Under: Art & Beer, Beers, Just For Fun Tagged With: Advertising, Europe, History, Spain

Session #32: Drink East, Young Man

October 2, 2009 By Jay Brooks

east
Session #32 heads east this month, courtesy of Girl Likes Beer, whose personal goal to sample a beer from every country with their own brewery. She’s had quite a few west of her native Poland, but the east is still largely unexplored. So she’s invited us to go east with her. She explains:

I would like you to pick your favorite beer made east from your hometown but east enough that it is already in a different country. It can be from the closest country or from the furthest. Explain why do you like this beer. What is the coolest stereotype associated with the country the beer comes from (of course, according to you)? And one more thing. If you do a video or picture of the beer (not obligatory of course) try to include the flag of the country.

Where I live in Marin County, California is roughly along the 38th Parallel. Following the line of 38 degrees of latitude east, the next countries one encounters, not including a few Atlantic islands, are Portugal and Spain. As I don’t necessarily have a favorite from those nations readily at hand, I’ll go instead for most recently tried. The most recent Spanish beer I’ve tried, is INEDIT, created by Grupo Damm in Barcelona, Spain. Below is my review of it that was published on one of my other blogs, Bottoms Up.

session_logo_all_text_200

Apparently when Ferran Adrià does something new, the food world pays attention. He’s considered one of the world’s great chefs and cooks at el Bulli, his restaurant in Girona, which is in the Catalonia region of Spain. In 2004, he was listed in Time magazine as one of the 100 most influential people in the world. So he’s no doubt a superstar in the restaurant biz.

spain

Adrià recently lent his expertise to beer-making and worked with Spanish brewery Grupo Damm in Barcelona to help create INEDIT, a beer specifically designed as a food beer. Damm is best known for their flagship Estrella Damm, a decent, if unexceptional, example of a European lager, somewhat similar to Heineken or Stella Artois. So if you were going to pair up with a brewery to make a food beer, whatever that even means, there might be better choices, breweries that already understand the balancing of flavors between beer and food, for example.

Cooking, it should be pointed out, does not automatically make one an expert on beer any more than it makes a brewer an expert chef. The press release claims that designing the beer took 1 1/2 years and “400 trial iterations between the master brewers of Estrella Damm,” Adrià, his retaurant partner Juli Soler, and two of the sommeliers from el Bulli. If you know anything about brewing and how long the average batch takes, if might cause you to wonder how it was possible to brew 400 batches in such a short period of time.

At the Damm website, the reason given for why they wanted to make this beer is explained.

Inedit is the first beer specifically created to accompany food. It is born from the conviction that a beer that could be paired with the utmost respect to the best cuisine was necessary. That is its aim and its virtue, and that is what makes Inedit different, special and unique.

A fine sentiment, except that most craft beer along with many of the fine beers brewed in Belgium, Germany, England and others have already been brewed with food in mind. It’s just part and parcel of any good artisanal beer that its very design, its particular ingredients, and the process by which it was brewed all assures it will be an excellent compliment or contrast with just the right food. Many chefs who have been working with beer for years, such as our own Bruce Paton, the beer chef, already know this to be true and have made a living out of discovering those perfect pairings.

But the press releases really trips over itself:

Developed for gastronomy, INEDIT is an alternative to wine for pairing with all dishes — from informal to more exquisite, sophisticated types of food. INEDIT is a unique coupage of barley malt and wheat with spices which provide an intense and complex aroma. It aims to complement food once thought to be a challenge in terms of culinary pairings, including salads, vinegar-based sauces, bitter notes such as asparagus and artichokes, fatty and oily fish, and citrus.

With its delicate carbonation, INEDIT adapts to acidic, sweet and sour flavors. Its appearance is slightly cloudy, and INEDIT has a yeasty sensation with sweet spices, causing a creamy and fresh texture, delicate carbonic long aftertaste, and pleasant memory. The rich and highly adaptable bouquet offers a unique personality with a smooth, yet complex taste.

Unlike most beers, INEDIT is bottled in a 750 ml black wine bottle and is intended for sharing. INEDIT is to be served in a white wine glass, filled halfway and chilled in a cooler.

All well and good, except that how is it possible every beer aficionado knows something, something they take for granted even, that Adrià and his crew do not; which is that beer is, and has always been, a wonderful match with challenging foods.

The very idea of there being an all-purpose beer “for pairing with all dishes” suggests they don’t really understand beer’s complexities at all. No chef worth his salt would ever suggest there’s one wine that might go with any dish, but beer has for so long suffered in the shadows, and many chefs, sadly, think that beer is just one thing: the mass-produced adjunct swill that people guzzle at sporting events.

That they’ve missed the boat is again made obvious by the statement that “[u]nlike most beers, INEDIT is bottled in a 750 ml black wine bottle and is intended for sharing.” There are many, many beers that are bottled in a 750 ml size, not to mention the 22 oz. bomber, which has been around for decades. Both are, and always have been, for sharing.

Then there’s the serving suggestions, that it “be served in a white wine glass, filled halfway and chilled in a cooler.” I’m okay with the white wine glass — sort of — but Belgians and others have specifying particular glassware for their beer for a century or longer. I feel confident that there’s a beer glass that could work, too. But chilling it in a cooler? I don’t even understand that. Is that done with white wine? Is the wine put in the glass and then both are placed in a cooler to chill? Or do they mean that the glass should be chilled in a cooler first, a milder version of a frosted glass? Either way it’s a bad idea, something you should never do to your beer. It probably wouldn’t hurt it the way a frosted glass has the potential to harm beer, but it’s a road we shouldn’t even start traveling down.

But let’s forget all the hype and just talk about the beer itself. After all, that’s really what’s most important. Not surprisingly, Inedit does not live up to the hype. How could it? It’s not that it’s bad, it’s really not, but it’s hardly exceptional in a field in which there are literally countless examples of better beers to pair with food, perhaps hundreds of them being brewed right now just in the Bay Area. Try Arne Johnson’s Point Reyes Porter (from Marin Brewing) with a fine Mexican mole, for example. Absolute heaven. Or Vinnie Cilurzo’s Salvation (from Russian River Brewing) with the Chili Chocolate Mousse featured by Bruce Paton yesterday in his Food & Beer piece. Another slice of heaven. But let’s get back to Inedit.

Inedit’s nose is surprisingly subtle with few spices coming through. As it warms, some of them do start to appear, though still they remain underneath. The sweetness is what comes through on the nose. It’s slightly cloudy like a witbier, though apparently it’s a blend of a lager (most likely something similar to Estrella Damm) and, they claim, a German-style weissbier. There’s no hint of cloves or banana in the nose, suggesting instead that a weissbier yeast has not been used. It has been brewed with orange peel, coriander and licorice. Orange peel and coriander are common ingredients in a Belgian-style wit or white beer, though not a Bavarian-style weissbier. It is unfiltered and is 4.5% a.b.v.

inedit

The mouthfeel is a little thin though the flavors do exhibit some creaminess. Again it’s sweet flavors that dominate the palate, with what spices that do come through being very subtle and remaining in the background throughout. The lager blend seems to contribute a nice clean character, and the finish is quick and similarly clean, dropping off almost immediately. It’s not a bad beer, though there’s no real synergy to the blend, as if it can’t make up its mind what it wants to be. It could work fine with a light salad or some other light fare, but I don’t think it would stand up to heavier flavors very well. At around $9.99, it’s not a bad deal, just don’t expect to be wowed.

I noticed a curious thing though about how this beer’s been received in the two weeks since it was first opened to great fanfare at chef Dan Barber’s Blue Hill at Stone Barns. Barber’s another big time chef, and this year he was picked by Time magazine as one of the 100 most influential people, and it was none other than Ferran Adrià who wrote about Barber for Time. People who’ve reviewed this beer seem to be split down the middle along some telling lines. Beer reviewers seem to consider it, as I do, as average at best. But many food writers, presumably because anything Adrià does is newsworthy, wrote uncritically about it, accepting what was in the press release and passing it along verbatim without question. I’ll let you decide what conclusions to draw from that.

In the New York Times, food writer Florence Fabricant gushes that it “behaves like a wine,” which personally I take as an insult, though I know she doesn’t mean it that way. I suspect Fabricant and other food and wine writers will continue to not quite know what to make of this beer, simply because they don’t seem to really understand it. Fabricant continues by saying later in the short review that Inedit “undergoes a second fermentation in the bottle, like Champagne.” Except that its secondary fermentation, in the beer world, is called bottle conditioning, and is a common practice that’s at least as old as the similar method in champagne-making. There was no need to resort to wine in trying to describe what was going on in the beer.

When she interviewed Adrià last week about the beer she got this gem. “The idea was to make a beer to drink with food, from a wineglass.” The problem, as I see it, with statements like that and Fabricant’s suggestion that the beer is “behaving” like a wine is that, simply put, it isn’t, it can’t, and we shouldn’t even want it to: it’s beer. The only thing about it that makes it appear in any way wine-like is their lack of experience with beer and their apparent refusal to learn anything about it, preferring to fall back on laughingly uneducated wine comparisons. Beer is already the equal of wine in terms of complexity and sophistication, and has been for some time. Sure, there are simple beers, the most popular ones made by the big breweries, for example. But there are also box wines, table wines and Blue Nun, too. That chefs and food writers have no trouble distinguishing between fine wine and the more pedestrian varieties should prepare them to view beer in the same way, yet so few do. Don’t get me wrong, I love wine, too. But it’s just made from one thing: grapes. Beer is made from four primary ingredients (barley, hops, water and yeast). Add to that other grains (like wheat or rye) and other fruit, herbs and spices, then take it and age in a barrel. There are virtually endless combinations of these ingredients and processes that all but guarantee that the complexity that can be realized by a great beer far exceeds most, if not all, wine. These great, complex, sophisticated beers are fantastic with food, and have been for a long time. Pick up Garret Oliver’s “The Brewmaster’s Table,” Stephen Beaumont’s “beer bistro cookbook” or Lucy Saunders’ “Beer & Food, Pairing & Cooking with Craft Beer” at your local bookstore. These authors, and many others, have been writing about the pleasures of beer and food for years and years. It’s frustrating that beer has to continue to claw and fight for the respect it deserves.

Things are starting to change — slowly — and some chefs are beginning to discover that beer often pairs better with many different dishes; heavy meat dishes, cheese, and other spicy foods, to name a few. A majority of culinary schools do teach their students about wine but still ignore beer entirely. To me, that says a lot about the root of the problem. Despite decades of effort by hundreds and hundreds of small breweries to elevate the quality and status of craft beer, many still refuse to afford it the respect it’s due. That’s a shame really. They’re missing out on a lot of pleasure.

Inedit, unfortunately, will not prove to be the answer. The name, Inedit, means “novel, new or original” in French. Too bad it’s not really any of those things.

Filed Under: Beers, The Session Tagged With: Europe, Spain

Beer In Art #36: Edgar Degas’ Cafe Concert

July 19, 2009 By Jay Brooks

art-beer
Today is the birthday of famed Impressionist artist Edgar Degas. Born in 1834, Degas is considered to be one of the founders of Impressionism, though he himself disdained the term. Though he’s most well-known for his paintings of ballet dancers, women at work and female nudes, I did discover one work he did where there’s beer in the painting. It’s one of his more obscure works, but it made the art world news when it was recently acquired by the Art Institute of Chicago, which is how I know about it, and is entitled the Café-Concert (The Spectators).
 

Degas-cafe_concert
Click on the image above for a larger view.

It was painted around 1876-77 and is done in pastels over a monotype on buff wove paper, laid down on a tan card. It’s only 201 x 415 mm (which is about 8 in. x 16 in.).

As described by Jeff Fleischer in Chicago Magazine; “Degas depicts the scene of a crowded concert in brightly colored pastels. The complicated tableau includes details like the man in the center about to spill his beer and a singer visibly warm from the stage lighting.”

The most famous painting Degas did involving drinking was not of beer, but Absinthe. Painted in 1876, L’Absinthe was considered controversial at the time, especially when it was shown in England in 1893. See, for example, The Green Fairy at Absinthe Fever, which about halfway down the page discusses people’s reactions to the painting.

Degas-absinthe

For more about Edgar Degas, you can start at Wikipedia, the Web Museum, or even biography.com. The ArtCyclopedia has some good links and the Art Archive has another good biography. There are also galleries of his other works at Olga’s Gallery, Painting Here, and Ricci-Art.

 

Filed Under: Art & Beer Tagged With: Europe, Painting

Beer In Art #18: Pieter Bruegel’s Harvesters

March 8, 2009 By Jay Brooks

art-beer
Today’s work of art is by Pieter Bruegel (the Elder), considered by many to be the greatest Flemish sixteenth-century master. He was born in the Netherlands around 1525 and died in 1569. He was a Renaissance painter who began the Bruegel Dynasty that included six well-known artists. (It was originally spelled Brueghel, but in 1559 he stopped signing his paintings with the “h” in his last name). He was especially known for his landscape paintings that were populated by peasants, and in fact “is often credited as being the first Western painter to paint landscapes for their own sake, rather than as a backdrop for history painting.” Sadly, only 45 of his works survive to the present.

The Harvesters was painted around 1565 and currently is at the Metropolitan Museum of Art in New York City. Click on the image below for a larger, more detailed, view.

The panoramic landscape show the harvesting of wheat underway, with some of the people in the painting still working and some taking a break, possibly for lunch. Or perhaps they worked in shifts? The man in the red shirt, just to the right of the tall tree that divides the painting is drinking from a large jug, which could be beer. The man in the white shirt, sleeping in front of the same tree, might be sleeping one off, or just tired from working. The man walking out of the wheat field is carrying a similar looking jug and there’s an another one just standing at the edge of the field on the painting’s bottom left. And of course, wheat is a common grain used in brewing.

The Harvesters is believed to represent the months of August/September and is believed to be part of a series of six paintings known as The Month. Only five of the six are still around, the sixth has been lost to history.

Here’s a list of the five:

  • The Hunters in the Snow (December-January), 1565, Kunsthistorisches Museum, Vienna
  • The Gloomy Day (February-March), 1565, Kunsthistorisches Museum, Vienna
  • The Hay Harvest (June-July), 1565, Lobkowicz Palace at the Prague Castle Complex, Czech Republic
  • The Harvesters (August-September), 1565, Metropolitan Museum of Art, New York
  • The Return of the Herd (October-November), 1565, Kunsthistorisches Museum, Vienna

 
This is the story told about the painting at the Met:

This is one of six panels painted by Pieter Bruegel the Elder for the suburban Antwerp home of the wealthy merchant Niclaes Jongelinck, one of the artist’s most enthusiastic patrons—Jongelinck owned no less than sixteen of Bruegel’s works. The series, which represented the seasons or times of the year, included six works, five of which survive. The other four are: Gloomy Day, Return of the Herd, Hunters in the Snow (all Vienna, Kunsthistorisches Museum), and Haymaking (Nelahozeves, Czech Republic, Roudnice Lobkowicz Collection). Through his remarkable sensitivity to nature’s workings, Bruegel created a watershed in the history of Western art, suppressing the religious and iconographic associations of earlier depictions of the seasons in favor of an unidealized vision of landscape. The Harvesters probably represented the months of August and September in the context of the series. It shows a ripe field of wheat that has been partially cut and stacked, while in the foreground a number of peasants pause to picnic in the relative shade of a pear tree. Work continues around them as a couple gathers wheat into bundles, three men cut stalks with scythes, and several women make their way through the corridor of a wheat field with stacks of grain over their shoulders. The vastness of the panorama across the rest of the composition reveals that Bruegel’s emphasis is not on the labors that mark the time of the year, but on the atmosphere and transformation of the landscape itself. The Seasons series continued to be cherished even after it left its original setting: by 1595, the panels, having been purchased by Antwerp, were presented as a gift to Archduke Ernst, governor of the Netherlands, on the occasion of his triumphal entry into the city. From there they entered the illustrious collection of Holy Roman Emperor Rudolf II at Prague.

And here is what one of my favorite art critics, Sister Wendy, had to say about The Harvesters in her book, American Masterpieces:

“Bruegel is the most deceptive of the old masters; his work looks so simple, yet is infinitely profound. The Harvesters is one of a series of paintings representing the months. Five of the series remain, and in Vienna, you can view three of them on one long wall in the Kunsthistorisches Museum (which is lucky enough to own another eleven of Bruegel’s paintings, representing nearly a third of his surviving works). Seeing the three in all of their majesty — each a world in itself — made me doubt Bruegel’s wisdom in attempting a series. Each one is overwhelming, though it is easier to feel its impact than to explain it.

“The Harvesters is basically, I think, a visual meditation on the near and the far. The near is the harvesters themselves – painted as only Bruegel can paint. He shows us real people: the man slumped with exhaustion, or intoxication; the hungry eaters; the men finishing off their work before their noontime break. Yet he caricatures them just slightly. He sees a woman with grain-like hair, and women walking through the fields like moving grain stacks. He smiles, but he also sighs. There is not a sentimental hair on Bruegel’s paintbrush, but nobody has more compassion for the harsh life of the peasant. His faces are those of people who are almost brutalized — vacant faces with little to communicate.

“He sets this “near” in the wonder of the “far”: the rolling world of corn and wood, of small hills spreading in sunlit glory to the misty remoteness of the harbor. Into this distance, the peasants disappear, swallowed up. They cannot see it, but we – aloft with the artist – can see it for what it is: the beautiful world in which we are privileged to live. He makes us aware not just of space, but of spaciousness – an immensely satisfying, potential earthly paradise. No other landscape artist has treated a landscape with such intellectual subtlety, yet Bruegel states nothing. He simply stirs us into receptivity.”

If you want to learn more about the artist, Wikipedia, the Art Archive or the ArtCyclopedia are all good places to start. And to see more of his work, both Ricci-Art and Art Show Magazine have good collections, and Pieter-Bruegel.com seems to have most of his known works, but it’s in French.

 

Filed Under: Art & Beer Tagged With: Europe

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