cm
Museo del Prado, Madrid
Two of his etchings, The Abduction of Psyche and Daedalus and Icarus, both signed and dated in Rome, are irrefutable evidence of his presence in the Eternal City. His work shows no trace of the influence that foreign beauty might have inspired, showing clear proof that he was not attracted to Italy by an invincible force. Bruegel was simply too artistic not to be curious to want to know Italy.
The Triumph of Death (detail)
c. 1562
Oil on panel, 117 × 162 cm
Museo del Prado, Madrid
In the aesthetic discussions in Hieronymus Cock’s studio, the young Bruegel’s spirit must have been excited to hear about the Italian masterpieces whose mastery he could not deny, even with his limited knowledge.
It is clear that Bruegel as a young peasant must have had an adventurous spirit to have left his village of birth to come to the city and find his fortune and career in the arts.
The Triumph of Death (detail)
c. 1562
Oil on panel, 117 × 162 cm
Museo del Prado, Madrid
Despite all of this, Bruegel set off with the money that he was able to save from what Cock had paid him for his work. Importantly and irrefutably, it should be remembered that Bruegel was added as a master to the register of the Guild of Saint Luke in 1551.
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