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Feel the passion of Paul Bril in our art prints.

Our art reproductions bring moments of comfort directly into your home.

Discover Artworks Now!
Paul Bril
Passionate Customer Service
Museum Quality Art Prints
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Österreichische Kunstmanufaktur Passionate Customer Service
Museum Quality Art Prints
Customization Options Available


The most popular works of Paul Bril

These artworks are particularly popular with our customers.

Landscape with Nymphs and Satyrs...
1623 | oil on canvas

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Fauns in a wooded landscape
1620 | oil on canvas

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The most popular works of Paul Bril

These artworks are particularly popular with our customers.


Discover more artworks by Paul Bril

Discover more artworks by Paul Bril

151 artworks found
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Paul Bril
Landscape with Hunters, 1619.
Undated | oil painting

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Paul Bril
 
1620 | Oil on panel

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Paul Bril
Scene of a Sea Port
Undated | oil on canvas

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Paul Bril
The Bay of Naples
Undated | oil on canvas

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Paul Bril
Arcadian landscape with satyrs a...
Undated | oil on wood

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Paul Bril
Christ Healing the Possessed of ...
1608 | oil on copper

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Paul Bril
Landscape with a Deer Hunt, 1591
1591 |

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Paul Bril
Weapon attack in a wood A group ...
Undated | oil on canvas

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Egidius Sadeler (II)
Boslandschap
Undated | paper

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Marten Ryckaert
 
Undated | oil on canvas

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Paul Bril
Hebe and the Eagle of Jupiter, 1610
1610 | oil on canvas

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Paul Bril
 
1574 | oil painting

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Paul Bril
Landscape with Satyrs and Mythol...
Undated | oil on canvas

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Egidius Sadeler (II)
November en december De twaalf ...
Undated | paper

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Paul Bril
A Mountainous Estuary Landscape ...
Undated |

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Willem van Nieulandt (II)
Landschap met een dode godsman, ...
Undated | paper

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Paul Bril
Armed Attack in a Wood
Undated | oil on canvas

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Willem van Nieulandt (II)
Reiziger wordt aangevallen door ...
Undated | paper

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Willem van Nieulandt (II)
Ruïne met een groep vrouwen en k...
Undated | paper

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Willem van Nieulandt (II)
Landschap met de barmhartige Sam...
Undated | paper

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Willem van Nieulandt (II)
Wonderbare visvangst Italiaanse...
Undated | paper

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Willem van Nieulandt (II)
Landschap met een watermolen en ...
Undated | paper

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Willem van Nieulandt (II)
Landschap met een huis, figuren ...
Undated | paper

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Willem van Nieulandt (II)
Herders bij een ruïne Italiaans...
Undated | paper

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Willem van Nieulandt (II)
Vlucht naar Egypte
Undated | paper

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Willem van Nieulandt (II)
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Willem van Nieulandt (II)
Pan en Syrinx
Undated | paper

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Willem van Nieulandt (II)
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Raphaël Sadeler (II)
Landschap met een kruis op een h...
Undated | paper

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Raphaël Sadeler (II)
Zeegezicht met Christus en zijn ...
Undated | paper

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Willem van Nieulandt (II)
Cephalus en Procris Italiaanse ...
Undated | paper

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Willem van Nieulandt (II)
Landschap met de ruïne van een t...
Undated | paper

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Willem van Nieulandt (II)
Cephalus en Procris Italiaanse ...
Undated | paper

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Egidius Sadeler (II)
Boslandschap
Undated | paper

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Willem van Nieulandt (II)
Ruiters en bedelaars in een land...
Undated | paper

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Paul Bril
Mountainous Landscape with Saint...
1592 | oil on copper on panel

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Egidius Sadeler (II)
Maart en april De twaalf maande...
Undated | paper

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Paul Bril
Ruïnes van het paleis van Septim...
Undated | paper ink chalk

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Paul Bril
Landscape with Men Playing 'Mail...
1624 | oil on canvas

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Willem van Nieulandt (II)
Gebouwen langs een weg Italiaan...
Undated | paper

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Willem van Nieulandt (II)
Brug over een rivier Italiaanse...
Undated | paper

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Willem van Nieulandt (II)
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Willem van Nieulandt (II)
Landschap met Abraham en Isaak ...
Undated | paper

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Egidius Sadeler (II)
Rivierlandschap
Undated | paper

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Egidius Sadeler (II)
September en oktober De twaalf ...
Undated | paper

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Paul Bril
Rotskust in Campania met stad en...
Undated | paper

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Willem van Nieulandt (II)
Uitzicht op landschap vanuit grot
Undated | paper

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Willem van Nieulandt (II)
Landschap met een ruïne Italiaa...
Undated | paper

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Willem van Nieulandt (II)
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Paul Bril
Landscape with Sportsmen and Dog...
Undated | oil on copper

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Willem van Nieulandt (II)
Brug en watermolen Italiaanse l...
Undated | paper

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Egidius Sadeler (II)
Berglandschap met een kluizenaar
Undated | paper

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Willem van Nieulandt (II)
Italiaans landschap met een herberg
Undated | paper

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Willem van Nieulandt (II)
Landschap met de barmhartige Sam...
Undated | paper

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Raphaël Sadeler (I) (attributed to)
Landschap met de tempel van Vest...
Undated | paper

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Paul Bril
 
undatiert | Oil on panel

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Willem van Nieulandt (II)
Landschap met de Emmaüsgangers
Undated | paper

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Egidius Sadeler (II)
Januari en februari De twaalf m...
Undated | paper

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Willem van Nieulandt (II)
Rustende familie voor een ruïne ...
Undated | paper

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Willem van Nieulandt (II)
Bileam en de ezel Italiaanse la...
Undated | paper

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Paul Bril
Berglandschap met biddende kluiz...
Undated | paper

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Willem van Nieulandt (II)
Boslandschap Italiaanse landsch...
Undated | paper

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Willem van Nieulandt (II)
Landschap met Hagar en Ismaël I...
Undated | paper

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Paul Bril
Christ casting out devils (oil o...
Undated | oil on copper

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Willem van Nieulandt (II)
Wonderbare visvangst Italiaanse...
Undated | paper

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Willem van Nieulandt (II)
Landschap met een rivier Italia...
Undated | paper

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Willem van Nieulandt (II)
Landschap met de verdrijving van...
Undated | paper

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Willem van Nieulandt (II)
Havengezicht met schepen
Undated | paper

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Willem van Nieulandt (II)
Mercurius, Argus en Io
Undated | paper

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Willem van Nieulandt (II)
Herders bij een ruïne Italiaans...
Undated | paper

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Willem van Nieulandt (II)
Haven met roeiboten, figuren en vee
Undated | paper

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Willem van Nieulandt (II)
Landschap met koeiendrijvers It...
Undated | paper

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Willem van Nieulandt (II)
Landschap met een gewapende overval
Undated | paper

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Willem van Nieulandt (II)
Dorp aan een baai Italiaanse la...
Undated | paper

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Paul Bril
January: wood-cutters in a winte...
Undated | Chalk, pen and ink on paper

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Paul Bril
Sea Coast with the Temple of Ves...
Undated | oil on panel

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Willem van Nieulandt (II)
Landschap met Pan en Syrinx
Undated | paper

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Willem van Nieulandt (II)
Brug en watermolen Italiaanse l...
Undated | paper

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Willem van Nieulandt (II)
Brug over een rivier Italiaanse...
Undated | paper

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Willem van Nieulandt (II)
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Willem van Nieulandt (II)
Landschap met de heilige Hieronymus
Undated | paper

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Willem van Nieulandt (II)
Paar en kind bij watermolen Ita...
Undated | paper

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Willem van Nieulandt (II)
Landschap met Juda en Tamar Ita...
Undated | paper

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Paul Bril
Rivierlandschap in Campania met ...
Undated | paper

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Paul Bril
'Landscape with St Hubert and th...
1574 | oil painting

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Willem van Nieulandt (II)
Landschap met een gewapende overval
Undated | paper

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Willem van Nieulandt (II)
Landschap met een watermolen en ...
Undated | paper

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Willem van Nieulandt (II)
Berglandschap met houten aquaduc...
Undated | paper

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Willem van Nieulandt (II)
Landschap met een huis, figuren ...
Undated | paper

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Willem van Nieulandt (II)
Italiaans landschap met een herberg
Undated | paper

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Willem van Nieulandt (II)
Landschap met een watermolen en ...
Undated | paper

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Paul Bril
View of Rome by Paul Bril (Brill)
Undated | drawing

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Willem van Nieulandt (II)
Landschap met Tobias en de engel...
Undated | paper

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Willem van Nieulandt (II)
Verschillende schepen in een baa...
Undated | paper

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Paul Bril
View of Bracciano
Undated |

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Paul Bril
Hilly landscape
Undated | oil on canvas

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Willem van Nieulandt (II)
Pan en Syrinx
Undated | paper

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Willem van Nieulandt (II)
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Paul Bril
Diana with her attendant nymphs ...
Undated | oil on canvas

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Paul Bril
Maius Junius, print made by Aegi...
1615 | engraving

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Page 1 / 2



Paul Bril

Paul Bril

  1552
  October 7, 1626
   •   Nonclassified artists   •   Wikipedia: Paul Bril

To which part of art history does the famous landscape painter and graphic artist Paul Bril actually belong? Should he be counted among the Flemish painters, out of which he grew, or did he become a European networked Roman? Should he, born in the middle of the 16th century, still be counted among the so-called Mannerists, or is he already a pioneer of the High Baroque? Paul Bril was a distinct landscape painter, who was not so fond of the staffage. This was provided by friends or colleagues, such as his legendary friend Adam Elsheimer. In return, Bril contributed the landscape background to figure painters. It was quite a common practice in the early Baroque that specialists worked together.

A famous example of such collaboration hangs in the Alte Pinakothek in Munich: The Madonna in a Wreath of Flowers by Rubens, with the Flower Glory by Jan Brueghel d. Ä., a very complex work. The Madonna is a picture within a picture, framed by the real imaginary wreath of flowers, which in turn is supported by typical Rubens putti. Such sophisticated interplay is also found in the works of the Roman group. Even art experts find it difficult to distinguish where one artist's part ends and another's begins. Paul Bril was used to working with other artists from his earliest years, when he was barely thirty and found shelter with his older brother Mathijs in Rome. When his brother died early, he finished his brother's fresco commissions and became one of the busiest muralists in Rome with his workshop. He then turned more and more to panel painting, however, as this became increasingly in demand in northern Europe as well. In the artists' colony in Rome, which included Dutch, French and Germans as well as Italians, he was almost something of a central figure. He absorbed suggestions and influenced others. The rather dramatic mannerist tone of his early landscape paintings changed to more quietly elegiac images. An almost meticulous obsession with detail, as in the harbor paintings, gradually gave way to an almost early classicist serenity and generosity. His composed cityscapes, on the other hand, already foreshadow a later early Romanticism. One of his many pupils, Agostino Tassi, is remembered ingloriously, but on the other hand he nevertheless passed on many impulses to Claude Lorrain. Tassi's unforgettable outrage was the rape of the young Artemisia Genteleschi, the most important female painter of the 17th century.

The demand for Bril's paintings remained so great throughout Europe even after his death that it is impossible to classify all of his works beyond doubt. As with his compatriot Rubens, a generation younger, there are all forms of authorship. It takes a great deal of expertise to discern whether a painting is entirely his own work, a workshop painting, a student's work, the work of a successor, or the product of a copyist. Paul Bril became a Roman and lived with his wife Ottavia in the "Eternal City" until his death. He found his last resting place in 1626 in the German Catholic "National Church" Santa Maria dell' Anima.

Paul Bril

Paul Bril
  1552
  October 7, 1626
   •   Nonclassified artists   •   Wikipedia: Paul Bril

To which part of art history does the famous landscape painter and graphic artist Paul Bril actually belong? Should he be counted among the Flemish painters, out of which he grew, or did he become a European networked Roman? Should he, born in the middle of the 16th century, still be counted among the so-called Mannerists, or is he already a pioneer of the High Baroque? Paul Bril was a distinct landscape painter, who was not so fond of the staffage. This was provided by friends or colleagues, such as his legendary friend Adam Elsheimer. In return, Bril contributed the landscape background to figure painters. It was quite a common practice in the early Baroque that specialists worked together.

A famous example of such collaboration hangs in the Alte Pinakothek in Munich: The Madonna in a Wreath of Flowers by Rubens, with the Flower Glory by Jan Brueghel d. Ä., a very complex work. The Madonna is a picture within a picture, framed by the real imaginary wreath of flowers, which in turn is supported by typical Rubens putti. Such sophisticated interplay is also found in the works of the Roman group. Even art experts find it difficult to distinguish where one artist's part ends and another's begins. Paul Bril was used to working with other artists from his earliest years, when he was barely thirty and found shelter with his older brother Mathijs in Rome. When his brother died early, he finished his brother's fresco commissions and became one of the busiest muralists in Rome with his workshop. He then turned more and more to panel painting, however, as this became increasingly in demand in northern Europe as well. In the artists' colony in Rome, which included Dutch, French and Germans as well as Italians, he was almost something of a central figure. He absorbed suggestions and influenced others. The rather dramatic mannerist tone of his early landscape paintings changed to more quietly elegiac images. An almost meticulous obsession with detail, as in the harbor paintings, gradually gave way to an almost early classicist serenity and generosity. His composed cityscapes, on the other hand, already foreshadow a later early Romanticism. One of his many pupils, Agostino Tassi, is remembered ingloriously, but on the other hand he nevertheless passed on many impulses to Claude Lorrain. Tassi's unforgettable outrage was the rape of the young Artemisia Genteleschi, the most important female painter of the 17th century.

The demand for Bril's paintings remained so great throughout Europe even after his death that it is impossible to classify all of his works beyond doubt. As with his compatriot Rubens, a generation younger, there are all forms of authorship. It takes a great deal of expertise to discern whether a painting is entirely his own work, a workshop painting, a student's work, the work of a successor, or the product of a copyist. Paul Bril became a Roman and lived with his wife Ottavia in the "Eternal City" until his death. He found his last resting place in 1626 in the German Catholic "National Church" Santa Maria dell' Anima.





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Mo-Do: 7:00 - 16:00 | Fr: 7:00 - 13:00

Do you have any questions?

Are you interested in an art print from our manufactory but still unsure? Do you need advice on choosing the medium or help with the order?

Our experts are happy to assist you.

+43 4257 29415
support@meisterdrucke.com
Mo-Do: 7:00 - 16:00 | Fr: 7:00 - 13:00


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