![]() Two place names in the northwest of North America are particularly interesting. The name "Novae Guinea", or New Guinea, was coined by Spanish explorer Íñigo Ortíz de Retes in 1545, and it refers to his opinion that the appearance of the native peoples resembled the natives of the Guinea region of Africa. Tierra del Fuego, named by Magellan because he saw so many small fires burning there, is part of this continent. The Straits of Magellan separate South America from a large southern continent that extends all the way to New Guinea. In the Pacific, ships stream through the water, their sails filled with imaginary winds. In the ocean, off what is now Argentina, a sea monster lurks. The title is decorated with the strapwork decorations common to the maps in Ortelius’ atlas. To the north, North America somewhat resembles the continent we know today, except the area near Alaska is undefined and the northwest bulges westward. North and South America stretch across this single hemisphere map. This is a first state of the groundreaking third edition. Additionally, there are several states of the first and third editions. The map went through three separate plates over the course of its printed life, creating three editions. The map, which shows both North and South America, featured in Abraham Ortelius' Theatrum Orbis Terrarum, the first modern atlas of the world. Ortelius’ Americae Sive Novi Orbis Nova Descriptio is without a doubt one of the most recognized and influential maps of the Americas from the sixteenth century and it had a profound influence on contemporary cartography. African Islands, including Madagascar (65)įine Example of Abraham Ortelius' Map of the Americas, One of the Most Iconic Maps of the Western Hemisphere.This discovery gives credibility to Karel van Mander's claim that Mayken Verhulst put pressure on the painter: she would only consent to her daughter's marriage if the painter distanced himself from an affair he may have had in Antwerp. This was very unexpected as, at the time, it was customary to get engaged and married in the same city. Not in Brussels, but in the registers of the Antwerp Cathedral. Thanks to archival research, Bruegel's engagement documents have recently been rediscovered. According to Karel van Mander, as an apprentice with Pieter Coecke, Bruegel often walked around his master’s studio, carrying the young girl who, 15 years later, would become his wife.Įxperts, however, have recently discovered something astonishing. The couple had known each other for a long time. This date is thus one of the few certainties we have about the painter's life. The parish marriage register is one of the rare documents that still exist today. Their marriage was celebrated in the Notre-Dame-de-la-Chapelle church (“Peeter brùgel Mayken cocks soluit”). We know this because he married Mayken Coecke, daughter of Pieter Coecke van Aelst and Mayjen Verhulst. While no miniatures by Bruegel have been found, his work undeniably shows great attention to detail.īruegel moved to Brussels in 1563. Moreover, Mayken Verhulst, Pieter Coecke van Aelst's second wife and Bruegel's future mother-in-law, may also have taught him the rudiments of miniatures. The two men have certain things in common – linked as much to the artistic context of the time as to the subjects that feature in their work. Nevertheless (and disregarding the family links between them), there are clues to support the apprenticeship link between Bruegel and Coecke. Van Aelst was strongly influenced by the Italian Renaissance, while Bruegel started his career as a landscape artist following Joachim Patinir's tradition. While the dates coincide, Bruegel's paintings show few traces of his master's influence. This studio was one of the biggest and most famous in the Southern Netherlands. It was also Karel van Mander who made reference to the young Bruegel's apprenticeship in Pieter Coecke van Aelst’s studio. APPRENTICESHIP UNDER PIETER COEKE VAN AELST & MAYKEN VERHULST
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