Dimensions: 26 5/8 x 34 3/4 in. (67.63 x 88.27 cm) (canvas)25 9/16 x 34 13/16 in. (65 x 88.5 cm) (sight)35 x 42 1/2 x 3 in. (88.9 x 107.95 x 7.62 cm) (outer frame)
Copyright: Public Domain
Paul Bril crafted this scene of men playing ‘Mail à la Chicane’ on canvas, capturing a moment of leisure against a serene landscape. The game itself, reminiscent of golf or croquet, carries symbolic weight beyond mere recreation. Notice how the players engage with curved sticks, guiding balls across the terrain. This act echoes primal human endeavors: the manipulation of tools, the harnessing of nature. Similar motifs appear in ancient Egyptian reliefs, where figures wield staffs in ceremonial processions, and in medieval tapestries depicting pastoral life. Consider the enduring presence of the arc – a shape recurring in bows, yokes and levers. It embodies control, force, and direction. These men, wielding their 'mails', are not simply playing a game; they are enacting a ritual of dominion over their environment. This imagery evokes a deep, almost subconscious satisfaction. The cyclical progression of symbols is a constant, reflecting our species’ unyielding impulse to shape the world around us, forever resurfacing, forever evolving.
Paul Bril was born into a family of artists in Antwerp, now the second-largest city in Belgium. Around 1580, he moved permanently to Rome, where he worked initially as a fresco painter in the Vatican. Gradually, he shifted from the Flemish painting traditions of his homeland to more classical compositions, filled with ruins and bucolic figures and imbued with a calmer, pastoral sentiment. These idealized landscapes made him famous and profoundly influenced Claude Lorrain, a French painter who moved to Rome around the time of Bril’s death, in 1626, and became the quintessential landscape painter of his time.
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