This study analyzes certain paintings by Bruegel and texts from de Coster's Legende d'Ulenspiegel to establish the thematic convergence of the two artists' works in their perception of sixteenth-century Flanders. Both artists equally celebrate nature, depicting Flemish scenes of customs and habits. In addition, they illustrate and denounce the cruelty of the seven capital sins and counterbalance them with a series of virtues. In French. Two Flemish artists, Charles de Coster of the nineteenth century and Pieter Bruegel of the sixteenth century, sketch, each in his own way, an comparable picture the people, the customs, and the landscape of Flanders. De Coster wrote "La Legende et les aventures heroiques, joyeuses et glorieuses d'Ulenspiegel et de Lamme Goedzak au pays de Flandres et d'ailleurs" in 1867. The story of Thyl Ulenspiegel takes place in the sixteenth century during the Low Countries' fight for independence and religious freedom. With his novel, de Coster drew a parallel between the social, political and religious situation of the Low Countries in the sixteenth century with that of Belgium during the years 1850-1875.
Likewise, the works of Bruegel deal with the human condition, daily life, religion, war and death in sixteenth-century Flanders. Using allegoric characters, saints, peasants, and noblemen, he depicts life's joys and struggles. This study suggests an affinity between de Coster and Pieter Bruegel the Elder with respect to their representation of Flanders. Both portray the Low Countries by their style and manner of representation. From a linguistic point of view, de Coster's novel is characterized in particular by an archaic language that the author uses out of a desire for historic realism on the one hand and a desire to free himself of literary constraints on the other. Moreover, he explores the themes of war, religion, peasant life, idyllic love, and the seven capital sins.