A study on Dutch populace’s costumes in the 16th century - Focusing on men’s costumes depicted in Pieter Bruegel the Elder’s paintings -

서지정보

ㆍ발행기관 : 복식문화학회 ㆍ수록지정보 : 복식문화연구 / 30권 / 6호
ㆍ저자명 : 조현진

목차

Abstract
I. Introduction
Ⅱ. Theoretical Background
1. Dutch social and artistic background in the16th century
2. Pieter Bruegel’s world of work
Ⅲ. Dutch Populace’s Costumes Depicted in the Paintings by Pieter Bruegel
1. Upper garment
2. Pants
3. Wraps
4. Hairstyle and hat
5. Shoes and accessory
Ⅳ. Conclusion
References

영어 초록

This study examines the social and artistic aspects of the Netherlands in the 16th century, focusing on the paintings of Pieter Bruegel the Elder (1525–1569), a representative Dutch painter at that time. Also analyzed were the types and characteristics of each item of the male populace’s and nobles’ costumes at that point in the Renaissance. The results are as follows: most of the populace’s chemises do not have frills on the neckline and sleeves; the doublet has a loose body and sleeves overall; and the sleeves and armholes are fixed with sewing rather than being detachable, making the epaulet invisible. The neckline of the doublet usually does not have a collar, but it sometimes has a hood. In the case of trousers, most males are shown wearing waist-high stockings, and a piece of cord is visible. It seems that the populace’s coats were mainly Spanish-style capes. The 16th-century Dutch populace’s costumes are imitative—reflecting a desire to emulate the codpieces and hairstyles of the aristocrats—while providing individuality through hats and belts. In terms of practicality, it appears that a knife and pouch were used in various living environments. This trend can be seen as a reflection of populace’s perception of the costume at the time.

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