Walt Whitman's view of love was expansive and inclusive, encompassing not just romantic love but also love for humanity, comradeship, and the natural world. He explored the depths of both joyous and painful experiences of love, emphasizing its transformative power and its connection to human identity and connection. His exploration of love is a testament to the power of human connection and the enduring quest for intimacy, belonging, and self-discovery
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@Thinkerbell Thanks to Viadana, the concertato spread to Germany, where it was later developed at the beginning of the 17th century. Pieter Bruegel the Elder died nine years after Viadana was born. On the occasion of the 450th anniversary of the death of Pieter Bruegel the Elder, the Royal Museums of Fine Arts of Belgium celebrated the great Renaissance master through various projects [media=https://youtu.be/Gk0C9w5MTy4]
@Thinkerbell You're quite the intelligent person to duel with. No, the groom isn't obvious in that painting. It's like the Roman Catholic bishop Barron in his posting a month ago on "Why a Chosen Woman Always Walks Alone"... that's indeed a swing to the other side in this post-Metoo period alright. Anyhow, back to your question...
- Highet & Glück: the ill-bred son of a wealthy couple, seen against the far wall to the right of the bride, eating with a spoon;
- Rucker: the man in the red hat, passing food towards the bride;
- Van der Elst: it's a depiction of an old Flemish proverb (It is a poor man who is not able to be at his own wedding)
Take your pick. Brueghel is sitting there talking to a monk. Looks like he isn't poor :)
I was thinking maybe the groom is the man with the green hat sitting directly across the table from the bride. He, like the bride, is wearing dark-blue clothes; I don't know if that had any special wedding significance. He does look rather old for the bride, but maybe he is a relatively well-to-do peasant who will bring some money into the bride's family.
I don't think the man with the spoon to the bride's right is the groom; he looks like he might be the bride's brother, judging from family resemblance.
And yes, I think that is Breughel talking to the monk at the upper right. And no, he seems not to have been poor, judging from this portrait.
@Thinkerbell Ah yes, that's the primary choice of Highet & Glück too, although it doesn't fit well the actual depiction of the bride. If she's the Virgin Mary, well, I'd rather think that Joseph was more mature in every sense of the word.
@Thinkerbell Wasn't the chosen picture now rather from the hand of John Girtin out of his 'Seventy-five portraits of celebrated painters' from 1817? That's again some centuries later.
I'm just mentioning it because the picture doesn't make him to be in the true Flemish character. What painter who had already some money on the bank would chose to paint ordinary life of quite ordinary people... or is there more?
Behind every picture there's a story could be very much the description of both some Flemish and Dutch paintings from that period. Perhaps a sign of the struggles going on in the Thirty Years War and such? Rubens was painting during a period of relative peace when an archducal couple were governors for so-called Flanders-Brabant. Breughel painted in a period of much more termoil before that. The Low Countries, including Flanders, were experiencing significant religious and political unrest, with the Dutch Revolt and the Spanish Inquisition casting a shadow over the region.
In 1569 when Brueghel died there was the burning at the stake of Joos van Beke, an Anabaptist, in Antwerp, etc.
