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Extra info for All about Colors and Composition in Arts
Amsterdam, Rijksmuseum. Figure 29 After Pieter Bruegel the Elder, Hoboken Kermis, etching and engraving. New York, The Metropolitan Museum of Art. 46 As the pronstelcatie also suggests, their pastimes included drinking in the rural taverns, for the taxes on beer were much less in the country than in the city, a circumstance perhaps commemorated in at least one print from the Small Landscapes, depicting the village inn At the Sign of the Swan (see Fig. 16). 47 As it happens, none of the prints in Cock’s two series of the Small Landscapes can be identiﬁed directly with Hoboken, but a view of one or more localities nearby can be seen on a drawing in Amsterdam (Fig.
27, B. 29). Otherwise, the plowed ﬁelds stand empty of laborers (see Fig. 14) or at most contain a lone sower (B. 63); chickens and ducks scratch for food, cows rest, people stop to gossip or to drink before an inn, At the Sign of the Swan (see Fig. 16), which is one of two inns shown; the other inn is signless, but its function is suggested by the trestle table and benches before its entrance (B. 10 This is not the workaday world of agricultural drudgery. Instead, it is the Sunday and holiday world of bucolic tranquility, where nothing much ever happens, and people have the leisure to stroll about, to enjoy the fresh air and other natural amenities, and, in one print, to participate in an archery contest (see Fig.
Rustic scenes, of course, can be found much earlier. 24 From the early sixteenth century on, the Flemish painters often included farmsteads and villages in their ﬁgure compositions, and we encounter similar details in the expansive landscapes of Patinir and his followers. 26 A number of pages show views outside Antwerp’s walls and in the countryside, some of them remarkable anticipations of the Small Landscapes in format and choice of motif (Fig. 28 One sheet depicts a simple farmhouse with a dovecote and other outbuildings, as well as some trees (Fig.