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AN00150430-00000043-0087.pdf
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本文公開日 |
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タイトル |
タイトル |
Pieter Bruegel : 素描による風景画の一考察
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カナ |
Pieter Brugel : ソビョウ ニ ヨル フウケイガ ノ イチ コウサツ
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ローマ字 |
Pieter Bruegel : sobyo ni yoru fukeiga no ichi kosatsu
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別タイトル |
名前 |
On landscape drawings by Pieter Bruegel the Elder
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著者 |
名前 |
八代, 修次
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カナ |
ヤシロ, シュウジ
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ローマ字 |
Yashiro, Shuji
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所属 |
慶応義塾大学
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所属(翻訳) |
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役割 |
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外部リンク |
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出版者 |
名前 |
三田哲學會
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カナ |
ミタ テツガクカイ
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ローマ字 |
Mita tetsugakukai
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出版年(from:yyyy) |
1963
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名前 |
哲學
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43
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1963
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1
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開始ページ |
87
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終了ページ |
103
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抄録 |
In Schilderboeh by Carel van Mander, Pieter Bruegel was regarded as a painter come of peasant class because he could paint peasant life vividly. But the studies by Max Dvorak, Charles de Tolnay and Otto Benesch in the 19th century came to insist that Pieter Bruegel was rather a philosopher in the same current of thought as that of liberarists at his time than a painter simply for peasants. In this article the writer attempts to trace the development of his philosophy by landscape drawings during his life time, which were collected in the complete catalogue-Tolnay; The Drawings of Pieter Brugel the Elder 1952. In Northern artists, his originality can be found in his intention to express the universal conception in drawing against the influence from Italian Renaissance in Flanders at those days. In this point, he has something in common with the thoughts in "Paradox" by Sebastian Franck who contemplated the universal necessity behind this world. Thus, it will be safe to say that Bruegel was the first painter who expressed new universal conception, escaping from Medieval thought, under which Jan van Eyck and Hieronymus Bosch lived in the same native land as Bruegel.
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