File:Pieter Brueghel de Jonge - Het Dorp Advocatenkantoor.jpg

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Summary[edit]

Pieter Brueghel the Younger: The Village Lawyer's office (

)

Artist



Alternative names	Pieter Brueghel , Pieter Breugel (II), Pieter Breughel (II), Pieter Bruegel (II), Hell Brueghel
Description	Flemish painter and drawer
Date of birth/death	between 23 May 1564 and 10 October 1564 date QS:P,+1564-00-00T00:00:00Z/9,P1319,+1564-05-23T00:00:00Z/11,P1326,+1564-10-10T00:00:00Z/11	Spring 1638 date QS:P,+1638-00-00T00:00:00Z/9,P4241,Q40720559
Location of birth/death	City of Brussels	Antwerp
Work period	1579–1638
Work location	Antwerp
Authority file	: Q255828 VIAF: 106974142 ISNI: 0000000084051614 ULAN: 500023420 LCCN: n50082822 MusicBrainz: 98e28ee9-ad3e-467a-8e11-5223f40cb777 WorldCat

Title

The Village Lawyer's office

Date

1616

Medium

oil on oak wood

Dimensions

height: 74 cm (29.1 in); width: 123 cm (48.4 in)

Object history

Provenance: Max von Wogau, 1928; - His deceased sale, London, Sotheby's, 30 June 1965, lot 101, for £2,200 to Beckland; - Private collection, Berlin, before 1989; - With Galerie d'Art St. Honoré, Paris, 1990, from whom acquired by the present owner.

Inscriptions

Signature and date bottom left:

P. BREVGHEL. 1616

Source/Photographer

Sotheby's

Licensing[edit]

This is a faithful photographic reproduction of a two-dimensional, public domain work of art. The work of art itself is in the public domain for the following reason:

This work is in the public domain in its country of origin and other countries and areas where the copyright term is the author's life plus 100 years or fewer.

This work is in the public domain in the United States because it was published (or registered with the U.S. Copyright Office) before January 1, 1929.

This file has been identified as being free of known restrictions under copyright law, including all related and neighboring rights.

The official position taken by the Wikimedia Foundation is that "faithful reproductions of two-dimensional public domain works of art are public domain".
This photographic reproduction is therefore also considered to be in the public domain in the United States. In other jurisdictions, re-use of this content may be restricted; see Reuse of PD-Art photographs for details.

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current	17:18, 24 March 2013		2,000 × 1,212 (963 KB)	Botaurus (talk \| contribs)	== {{int:filedesc}} == {{Artwork \|artist = {{Creator:Pieter Brueghel the Younger}} \|title = {{title\|The Village Lawyer's office}} \|description = \|date = 1616 \|medium = {{technique\|Oil\|...

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Metadata

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Date and time of data generation	1 October 2012
JPEG file comment	Klaus Ertz describes this treatment of The village lawyer’s office as “geh�rt zu den besten Versionen des Themas” (one of the best versions of the subject).1 It is one of Pieter Brueghel’s most popular subjects and though at least twenty-five autograph versions survive, the vast majority are on Brueghel’s standard small-scale panel size, measuring approximately 55 by 88 cm.. Only three, of which this is one, are painted on Brueghel’s larger standard panel size of approximately 75-79 cm. by 123-26 cm.. All three large-scale works are dated: of the other two (both in private collections) one is dated 1615 and the other 1618.2 The earliest dated small-scale panel is dated 1616 and Brueghel continued to paint them on that scale well into the 1620s.3 Brueghel used these standard-sized panels in his workshop because the designs were transferred using tracings. Chronologically this is thus most likely Brueghel’s second attempt at the subject. Though the tracing method ensures that the overall design of all versions remains largely the same, Brueghel did tend to subtly alter tone and colour from one work to another; for example, where in this early large-scale version the patiently waiting gentleman at the extreme left wears a bright red chemise, in the later large-scale version from 1618 it is blue. The vast array of caricatured faces, however, does not change, though the three large-scale versions allow for a deeper study of each highly characterised physiognomy. The subject determines that almost the entire picture surface is covered by man or object, thus allowing Brueghel to experiment and delight in narrative incident as well as visual texture. Though the subject has traditionally been called “Rent Day”, “Tax-Collector’s office” and “Payment of (the) tithes”, recent scholarship has identified it as a ramshackle village lawyer’s office.4 This identification is supported by documents from as early as 1627, when the inventory of Antoinette Wiael’s collection describes a panel painting by the younger Brueghel of “een franschen procureur” (a French lawyer).5 The gentleman seated behind the desk wears a traditional lawyer’s cap. His clerk is busy at a tiny desk behind the door. Peasants approach the lawyer with produce as payment for services rendered: a woman reaches down into a basket in the search for goods to hand to her husband to offer the lawyer; several other men wait nervously for the lawyer’s decision while another seems to be spying on the whole scene from the other side of a door left ajar. Thus the narrative, together with the caricature in execution, suggest that this is a satire on the venality of the legal profession. Indeed an engraving made after the composition was published in 1618 by Paulus F�rst for a pamphlet attacking the corruption of lawyers and the way they exercise power by twisting both fact and law.6 However, whether taken literally or ironically, there is no doubt that this most modern of compositions appealed as widely then as it is does today. -------------------------------------------------------------- 1. See Ertz, under Literature. 2. Ertz nos. E489 and E496. There is one other larger autograph panel, dated 1617, measuring 115 by 187 cm.. In 1937 it was in the Surati collection, Milan; see Ertz, op. cit., p. 502, no. E494, reproduced. 3. Ertz no. E491. 4. See. D. de Vos, Stedelijke Musea Brugge, Catalogus Schilderijen 15de en 16de eeuw, Bruges 1979, p. 95; and J. Folie, Pieter Brueghel de Jonge, exhibition catalogue (brochure), Maastricht 1993. 5. See de Vos, ibid. 6. See Ertz, ibid., p. 494, figs. 378 and 379. The pamphlet does not acknowledge Brueghel as the source of the composition.
IIM version	4

File:Pieter Brueghel de Jonge - Het Dorp Advocatenkantoor.jpg

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