Procession 

Curator: Here we have "Procession," an oil on mural attributed to Pieter Brueghel the Younger. What do you make of it? Editor: There’s a carnival atmosphere. I'm seeing bright reds against this sort of mottled ochre background, almost like the whole thing is happening during some slightly unsettling festival. The figures almost seem…caught. Curator: Caught is interesting, I read this a very staged representation, something quite intentional at play in terms of Baroque aesthetics. Brueghel expertly stages the characters: look at those townspeople leaning out of the window for a glimpse! And note that bold use of line and color—particularly the reds used on the flags and the palanquin. Editor: The red definitely draws the eye! The starkness, to me, feels like a signal, maybe to make something joyous from a very unglamorous scene. Does it tell a story? Curator: These history or genre scenes often have a deeper meaning. It appears like this is likely depicting the Feast of Fools, or some kind of Shrove Tuesday parade, turned upside down into a scene that looks to critique or parody formal society. Look at that cleric observing with caution on the right, or the man at the very front straining with his back under what seems to be a heavy burden! Editor: A reversal! The formal gets mocked; and here everyone literally carries the burden of spectacle. What about those dark splotches on the wall, between the jeering audience? That's also staged! Is the whole world just the inside of a painted theater flat? Curator: It’s hard to say, with Brueghel, I think ambiguity and visual puns are very much a deliberate trick, if you will, of this Baroque landscape aesthetic. This one may hold its secrets, but is enjoyable all the while, and invites an exploration into how the history and life can often seem like a series of performative rituals, don't you think? Editor: Absolutely! Like we’re always, perpetually, in a procession. Heavy work if you think about it, or, painted onto canvas!