linguistic:translation, structural:scholar_edition, stylistic:tone
Depictions of winter in European painting

William James Burroughs analyzes the depiction of winter in paintings, as does Hans Neuberger. Burroughs asserts that it occurred almost entirely from 1565 to 1665 and was associated with the climatic decline from 1550 onwards. Burroughs claims that there had been almost no depictions of winter in art, and he "hypothesizes that the unusually harsh winter of 1565 inspired great artists to depict highly original images and that the decline in such paintings was a combination of the 'theme' having been fully explored and mild winters interrupting the flow of painting." Wintry scenes, which entail technical difficulties in painting, have been regularly and well handled since at least the early 15th century by artists in illuminated manuscript cycles that show the Labours of the Months, typically placed on the calendar pages of books of hours. January and February are typically shown as snowy, as in February in the famous cycle in the Très Riches Heures du Duc de Berry, painted in 1412–1416 and illustrated below. Since landscape painting had not yet developed as an independent genre in art, the absence of other winter scenes is not remarkable. On the other hand, snowy winter landscapes, particularly stormy seascapes, became artistic genres in the Dutch Golden Age painting during the coldest and stormiest decades of the Little Ice Age. Most modern scholars believe them to be full of symbolic messages and metaphors, which would have been clear to contemporary viewers.

All of the famous winter landscape paintings by Pieter Bruegel the Elder, such as The Hunters in the Snow and the Massacre of the Innocents, are thought to have been painted around 1565. His son Pieter Brueghel the Younger (1564–1638) also painted many snowy landscapes, but according to Burroughs, he "slavishly copied his father's designs. The derivative nature of so much of this work makes it difficult to draw any definite conclusions about the influence of the winters between 1570 and 1600...". In addition, Breugel painted Hunters in the Snow in Antwerp, so the mountains in the picture probably mean it was based on drawings or memories from crossing of the Alps during his trip to Rome in 1551–1552. It is one of 5 known surviving paintings, probably from a series of 6 or 12, known as “the Twelve Months”, that Breugel was commissioned to paint by a wealthy patron in Antwerp, Nicolaes Jonghelinck (Hunters in the Snow being for January): none of the other four that survive show a snow-covered landscape and both The Hay Harvest (July) and The Harvesters (August) depict warm summer days. Even The Return of the Herd (thought to be the painting for November) and The Gloomy Day (known to be for February) show landscapes free of snow.

Burroughs says that snowy subjects return to Dutch Golden Age painting with works by Hendrick Avercamp from 1609 onwards. There is a hiatus between 1627 and 1640, which is before the main period of such subjects from the 1640s to the 1660s. That relates well with climate records for the later period. The subjects are less popular after about 1660, but that does not match any recorded reduction in severity of winters and may reflect only changes in taste or fashion. In the later period between the 1780s and 1810s, snowy subjects again became popular. Neuberger analyzed 12,000 paintings, held in American and European museums and dated between 1400 and 1967, for cloudiness and darkness. His 1970 publication shows an increase in such depictions that corresponds to the Little Ice Age, which peaks between 1600 and 1649.

Paintings and contemporary records in Scotland demonstrate that curling, ice skating and icesailing were popular outdoor winter sports, with curling dating to the 16th century and becoming widely popular in the mid-19th century. An outdoor curling pond constructed in Gourock in the 1860s remained in use for almost a century, but increasing use of indoor facilities, problems of vandalism, and milder winters led to the pond being abandoned in 1963.