Pieter Brueghel the Younger
- Pieter Brueghel the Younger
- The Bird Trap
- oil on panel
With Koetser Gallery, Zurich, 1990.
Klaus Ertz, Pieter Brueghel der Jüngerer (1564-1637/8). Die Gemälde mit kritischem oeuvrekatalog, Luca verlag Lingen 1988/200, vol. II, p. 620-621, cat. no. E724, reproduced.
It has been suggested that the underlying subject of The Bird Trap is the precariousness of life, which is marked by the birds total ignorance to the threat of the trap that awaits them. This notion is furthered by the image of the carefree skaters playing upon the fragile ice seemingly unconcerned by the potential danger of it cracking. The exact meaning of this popular scene is not entirely clear although the deliberate allusions to the brevity and transience of life would have been an intentional moralizing reference following in the tradition of the artist's father. Another, more straightforward reading of composition is the literal depiction of gathering food for the winter. It may be that Brueghel did not intend for any symbolic meaning at all in such a scene, although his famous print of Ice-skating before Saint George's Gate Antwerp carried an inscription referring to the ways in which people find themselves 'slipping and slithering through a life whose basis is more ephemeral and fragile than ice'. There has also been speculation made that the bird trap alludes to the Spanish occupation of the Netherlands at this time. Pieter Brueghel the Elder’s Bird Trap in Brussels is dated 1565, which is only one year before the popular iconoclastic uprising against the Spanish authorities. The Duke of Alba was sent to repress the risings, done in a very high minded and sometimes brutal manner. The leitmotif of The Bird Trap has often been interpreted as a parallel to the repressive Spanish regime that continued to ensnare the people of the Netherlands throughout the lifetime of both Pieter Brueghel the Elder and his son.