Gustav Friedrich Waagen
From The Art and Popular Culture Encyclopedia
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Hieronymns (Jerome] Bosch, more correctly Hieronymus van A ken of Bois le Due (Bosch being the Dutch form of Bois, or wood), was a painter of strongly marked individuality. He was born between 1460 and 1464, and died 1516, His peculiarity lay in his treatment of the most wildly fanciful subjects, such as sins and their punishment in hell. These, as being at once farcical and terrible, soon became extremely popular, and found many imitators. At the same time he could deal skilfully with simpler subjects, giving them a very piquant humour and realism ; these compositions are best known from engrav- ings of the sixteenth century (Fig. 165). He himself was not an engraver. His more important works mentioned by Van Mander and Zanetti have perished ; most of his remaining pictures are in the Madrid Museum, and two of seven there ascribed to him are undoubtedly genuine 86 the Adoration of the Kings, full of quaint details with an extensive landscape (No. H75)> an <* the Temptation of S. Anthony (No. 1176). There is another of his works a Holy Family with SS. Catherine and Barbara, in the Naples Museum. One of the best is the Last Judgment in the Vienna Academy, of which there is a copy in the Berlin Gallery. In spite of his grotesque humour, Bosch is a very noteworthy master ; his execution is free and broad, clear and sure, and as a colourist he is successful in harmonising vivid local tints into a bright and glowing tone. [There is one of Bosch's fantastic representations of hell at Hampton Court, and in the British Museum one (a man being shaved Waagen), If not more, of his drawings, Mr. Fuller Maitland has a small Head of S. John ; and there is a " good example " at Petworth : the Adoration of the Kings (Waagen).]
- Nelly Byl, 92, Begian songwriter.
The Garden of Earthly Delights (c. 1500) Hieronymus Bosch
I've been teaching on this painting. The 700 megabyte file depicted above helped enormously to see all the detail in this painting, which hangs in the Prado.
I'd previously been unaware to what extent this painting is about worldly pleasures. I had missed details such as the gaze of Adam towards Eve, and certain elements of the central panel, especially the lower half which is full of cavorting and frolicing nude bodies. As such, it is an icon of medieval erotic art.
