Deciphering allegories in the complex, fantastical works of Hieronymous Bosch
In the midst of the realist-leaning artistic climate of the Late Gothic and Early Renaissance, Dutch painter Hieronymus Bosch (c. 1450–1516) was more than an anomaly. Bosch’s paintings are populated with grotesque scenes of fantastical creatures succumbing to all manner of human desire, fantasy, and angst. One of his greatest inventions was to take the figural and scenic representations known asdrolleries, which use the monstrous and the grotesque to illustrate sin and evil, and to transfer them from the marginalia of illuminated manuscripts into large-format panel paintings. Alongside traditional hybrids of man and beast, such as centaurs, and mythological creatures such as unicorns, devils, dragons, and griffins, we also encounter countless mixed creatures freely invented by the artist. Many subsidiary scenes illustrate proverbs and figures of speech in common use in Bosch’s day. In hisTemptation of St Anthony triptych, for example, the artist shows a messenger devil wearing ice skates, evoking the popular expression that the world was "skating on ice"—meaning it had gone astray. In his pictorial translation of proverbs, in particular, Bosch was very much an innovator.
Bosch—whose real name was Jheronimus van Aken—was widely copied and imitated: the number of surviving works by Bosch’s followers exceeds the master’s own production by more than tenfold. Today only 20 paintings and eight drawings are confidently assigned to Bosch’s oeuvre. He continues to be seen as a visionary, a portrayer of dreams and nightmares, and the painter par excellence of hell and its demons. In this exhaustive book, published in view of the upcoming 500th anniversary of Bosch's death and covering his complete works in huge, splendid reproductions with copious details, art historian and acknowledged Bosch expert Stefan Fischer examines just what it was about Bosch and his painting that proved so immensely influential.
“As a child I didn’t quite understand what it all meant, but through my child’s eyes it represented a planet, the utopia we had been given, the overpopulation, excesses, and in the third panel we see a blackened sky that represents so much to me of what’s going on in the environment” - Leonardo Di Caprio
Stefan Fischer studied art history, history and classical archaeology in Münster, Amsterdam and Bonn. In 2009 he completed his doctoral thesis on “Hieronymus Bosch: Malerei als Vision, Lehrbild und Kunstwerk”. His specialist fields are Netherlandish painting of the 15th to the 17th century and museology.
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|Cover||Hardcover with 2 fold-outs and ribbon bookmark|
|Dimensions||cm 29,0 x 39,5|