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<p>The aim of this thesis is to expand the understanding of 16th century Flemish art by approaching paintings by artists Pieter Aertsen (1508-1575), Joachim Beuckelaer (1533-1574) and Pieter Bruegel (c. 1525-1569) from a different perspective. This is done by extending the discourse of art history, into a discourse of literary history and primarily 16th century novels by authors such as François Rabelais and Miguel de Cervantes. The paintings are studied in relation to these 16th century novels, by comparison and as a testament of this specific time period. A widening contextualization is also constructed in which a connection to the expression of the carnivals ambivalent form, as well as the notion of lower classes is explored.       These alternative readings utilize a theoretical basis in Michail Bachtin, Svetlana Alpers and Walter Gibson, among others. The thesis also sets out from a hermeneutic point of view as well as a critical analysis of the discourse of art history. The general understanding of these paintings, formed through the discourse of art history, is questioned and revaluated in the meeting and clash between art and literature. The thesis concludes that the ways these paintings have been viewed and understood, in studies of art history, have been too narrow to produce a full understanding of these diverse expressions of an equally diverse period in time. A foundation for a new conception of the renaissance is thereby formed; a conception that promotes further studies.The aim of this thesis is to expand the understanding of 16th century Flemish art by approaching paintings by artists Pieter Aertsen (1508-1575), Joachim Beuckelaer (1533-1574) and Pieter Bruegel (c. 1525-1569) from a different perspective. This is done by extending the discourse of art history, into a discourse of literary history and primarily 16th century novels by authors such as François Rabelais and Miguel de Cervantes. The paintings are studied in relation to these 16th century novels, by comparison and as a testament of this specific time period. A widening contextualization is also constructed in which a connection to the expression of the carnivals ambivalent form, as well as the notion of lower classes is explored.       These alternative readings utilize a theoretical basis in Michail Bachtin, Svetlana Alpers and Walter Gibson, among others. The thesis also sets out from a hermeneutic point of view as well as a critical analysis of the discourse of art history. The general understanding of these paintings, formed through the discourse of art history, is questioned and revaluated in the meeting and clash between art and literature. The thesis concludes that the ways these paintings have been viewed and understood, in studies of art history, have been too narrow to produce a full understanding of these diverse expressions of an equally diverse period in time. A foundation for a new conception of the renaissance is thereby formed; a conception that promotes further studies.</p>

The aim of this thesis is to expand the understanding of 16th century Flemish art by approaching paintings by artists Pieter Aertsen (1508-1575), Joachim Beuckelaer (1533-1574) and Pieter Bruegel (c. 1525-1569) from a different perspective. This is done by extending the discourse of art history, into a discourse of literary history and primarily 16th century novels by authors such as François Rabelais and Miguel de Cervantes. The paintings are studied in relation to these 16th century novels, by comparison and as a testament of this specific time period. A widening contextualization is also constructed in which a connection to the expression of the carnivals ambivalent form, as well as the notion of lower classes is explored.       These alternative readings utilize a theoretical basis in Michail Bachtin, Svetlana Alpers and Walter Gibson, among others. The thesis also sets out from a hermeneutic point of view as well as a critical analysis of the discourse of art history. The general understanding of these paintings, formed through the discourse of art history, is questioned and revaluated in the meeting and clash between art and literature. The thesis concludes that the ways these paintings have been viewed and understood, in studies of art history, have been too narrow to produce a full understanding of these diverse expressions of an equally diverse period in time. A foundation for a new conception of the renaissance is thereby formed; a conception that promotes further studies.The aim of this thesis is to expand the understanding of 16th century Flemish art by approaching paintings by artists Pieter Aertsen (1508-1575), Joachim Beuckelaer (1533-1574) and Pieter Bruegel (c. 1525-1569) from a different perspective. This is done by extending the discourse of art history, into a discourse of literary history and primarily 16th century novels by authors such as François Rabelais and Miguel de Cervantes. The paintings are studied in relation to these 16th century novels, by comparison and as a testament of this specific time period. A widening contextualization is also constructed in which a connection to the expression of the carnivals ambivalent form, as well as the notion of lower classes is explored.       These alternative readings utilize a theoretical basis in Michail Bachtin, Svetlana Alpers and Walter Gibson, among others. The thesis also sets out from a hermeneutic point of view as well as a critical analysis of the discourse of art history. The general understanding of these paintings, formed through the discourse of art history, is questioned and revaluated in the meeting and clash between art and literature. The thesis concludes that the ways these paintings have been viewed and understood, in studies of art history, have been too narrow to produce a full understanding of these diverse expressions of an equally diverse period in time. A foundation for a new conception of the renaissance is thereby formed; a conception that promotes further studies.

abstract: Bruegel is a four movement composition inspired by the paintings and engravings of Flemish artist Pieter Bruegel the Elder (1525-1569). It is scored for Bass Clarinet in Bb, Electric Guitar, One Percussionist (Glockenspiel, Woodblock, Snare, Kick Drum, and Brake Drums), Piano and String Quartet. Each movement explores a painting or engraving from Bruegel’s catalog of works and attempts to embody each piece of art through the use of certain compositional techniques. The Cripples (Movement I) explores layered rhythms and disjunct melodic fragments which play on the idea of Bruegel’s painting of crippled men trampling over each other and stumbling. Small moments of balance are found throughout only to be lost. Patience (Movement II) is based on an early engraving of Bruegel, which depicts a lone woman who represents a virtue, in this case patience, surrounded by sin and vices. Juxtaposed textures are presented with patience eventually finding itself victorious to temptation. Children’s Games (Movement III) explores a painting which depicts a large number of children playing a plethora of different games. The movement uses graphic notation and plays with the idea of games to create a compositional “game” for the ensemble. Big Fish Eat Little Fish (Movement IV) depicts a large fish eating several smaller fish. A process is introduced which plays on the idea of increasing density and lasts for the bulk of the movement. / Dissertation/Thesis / Masters Thesis Music 2016

This thesis examines Pieter Bruegel the Elder's Fortitude, 1560, a print from the Seven Virtues series. Fortitude stands out as an anomaly within the cycle because it contains several allusions to the Book of Revelation. The linkage of Fortitude to the writings of St. John is important because it challenges previous iconographic and iconological analyses of the composition. Analysis of Fortitude's compositional elements is provided, along with an examination of the virtue tradition. Additionally, an exploration of sixteenth-century apocalypticism is included, as well as an examination of the artistic influences that may have inspired Bruegel. This thesis concludes that Fortitude's apocalyptic allusions do not seem unusual for an artist familiar with St. John's prophecies, influenced by Hieronymus Bosch, and living in an age of apocalypticism.