(H/B) HIERONIMUS BOSCH

Παρουσίαση

In an era described as Late Gothic by some and as Early Renaissance by others, in which art strove increasingly towards harmony and brilliance, illusionism and monumentality, the Netherlandish artist Hieronymus Bosch (1450-1516) followed a very different path.
With his innovative pictures, often populated by grotesque figures, of a religious or nature, the artist from 's-Hertogenbosch falls properly neither into the Flemish panel-painting of the 15th century nor into the Renaissance style that spread north of the Alps in the course of the 16th century. Albrecht Durer (1471-1528) held the emphatically Renaissance view that an artist "should take care that he does not make something impossible, does not distort Nature, unless it be his task to make a picture of a dream. In such a picture he may mix all things together" (Vier Bucher von Menschlicher Proportion, 1528, in: Albrecht Durer, Schriftlicher Nachlass, vol. 3, p. 283). In Durer's book, in other words, Bosch - who was not concerned with the idealising portrayal of nature - fell into the category of a painter of dreams. And this was exactly how Bosch would be seen for centuries right up to the present: as a fantastical visionary, a visual chronicler of dreams and nightmares and the painter par excellence of Hell and its demons - subjects frequently connoted in negative ways as 'unnatural', just as was implied in Durer's words. [...] (From the publisher)

Περιεχόμενα

Perspectives on Bosch
I. Family origins and first works 1474-1487
II. Social and artistic ascent 1488-1501
III. In the labyrinth of images: The Temptation of Saint Anthony c. 1502
IV. Nuptial art: The Garden of Earthly Delights c. 1503
V. Art of the King: The Last Judgement c. 1506
VI. Exemplum docet: Late works: 1504-1516
V. Epilogue: An enigmatic bequest
Catalogue of paintings
Catalogue of drawings
Documentary sources on Bosch's life and work
Bibliography
Index