Hieronymus Bosc: discover the fundamental works of the artist
A painter in front of his own time, who portrayed sometimes fantastic and religious realities, investing in um deeply detailed work, this was Hieronymus Bosch, a Dutch that marks the painting of the secular XV.
The characters that starred in Bosch's fabrics were monsters, hybrid creatures, religious figures, animais, vulgar homens at improvised dinners. His provocative and unusual creations will serve as an influence for the surrealists, who will discover or work on the Dutch many centuries later.
Discover now that he was Hieronymus Bosch and discover his main fabrics.
1. Or Jardim das Delícias Terrenas
Considered the most complex, intense and mysterious painting of the Dutch artist, O Jardim das Delícias Terrenas presents several canvases within the same canvas containing fantastic micro-portraits.
The three painéis carry irrational elements - eccentric enigmas - and the central theme of painting and creation of the world, with emphasis on or paradise and for or hell.
Na plot gives work to esquerda we see a paradisiacal, biblical field, where the bodies find prazer and rest. There are three main personagens (Adão, Eva and Deus) in a bucolic green grass surrounded by animals.
A tela do meio, for the time being, appears or found do bem as bad. The image is very popular and has allusion to symbolic elements such as maçã, emblem of the temptation of Adam and Eve in paradise. Já ha, nessa plot of the image, a menção à vaidade represented by pavão hair. Human beings and animals are illustrated in inverted positions demonstrating the disorder of the world.
A painting situated directly represents or inferno and has many references to music. Na imagem, visibly gloomy and night, we see a series of beings being tortured and eaten by strange creatures. There is fire, people in fry, vomit, heavy dinners. How would Bosch illustrations originate two dreams?
No panel directly from O Jardim das Delícias Terrenas very critical julgam that Bosch teria discreetly projected its representation:
When dated, or Jardim das Delícias Terrenas shows a painting that represents the third day of the creation of the world. A illustration of a globe painted in tons of cinza with just a presence of vegetais and miners:
O Jardim das Delícias Terrenas was exhibited in the Bruxelas Palace in 1517. In 1593 I was acquired by Spanish King Philip II. A chegou image to be suspended was not his fourth, not Escorial. O Mosteiro brought together all the new works by Bosch that were acquired by Philip II, a two major enthusiasts of the art of the Dutch painter.
Since 1936, the most famous painting by Bosch has been found in the Museo do Prado, in Madrid.
2. A Tentação de Santo Antão
Bosch art is usually divided into two groups: a traditional (raised to occupy convents, mosteiros, Christian environments in a general way) and a non-traditional.
As non-traditional productions appear to be monks and fries, they have disgusting attitudes, or that lead to an anticlerical controversy. However, the canvases with religious components, more disturbing, were also not possible because the painter intended to represent adoration pagã. The same records for us are the figure of ritual rituals, Bosh criticizes these priests and ritualistic excesses.
Na cloth A Tentação de Santo Antão we assist or Santo to be besieged for his past life. We see solidão and the desires that try to seduce or homem that resolve to change their life indo from finding their religiosity.
We assist the protagonist to be seduced by demon hairs and evil creatures, at the same time that we are testemunhamos or Holy indo of found a or path of bem. The work brings together the four central elements of the universe: o ceu, a agua, a terra e o fogo.
A Tentação de Santo Antão is an oil on carvalho wood of large dimensions (or central panel with 131.5 x 119 cm and 131.5 x 53 cm on the side).
It is a triptych, when dated A Tentação de Santo Antão presents two exterior paintings below.
A Tentação de Santo Antão belongs to the National Museum of Ancient Art since 1910. Before leaving part of the royal collection of the Palácio das Necessidades. A versão corrente affirms that the cloth is the mãos of the humanist Damião de Góis (1502-1574).
When intimidated by the inquisition on the accusation of not being a Catholic, Damião teria defended himself using as an argument or evidence of having a painel called As Tentações de Santo Antão, by Bosch.
3. A extração da pedra da loucura
Extração da pedra da loucura is considered a work of realistic content and belongs to the first phase of the painter. I suppose that there are some of the first works by Bosch (frequently painted between 1475 and 1480), even though among some critics it seems very dull about the authenticity of the painting.
A cloth has a central dinner in the year of its name, the following inscription is made with an elaborate calligraphy: Meester snijit die Keije ras Mijne name is Lubbert Das. O text, translated for o Portuguese, means: "Mestre, tira-me depressa essa pedra, meu nome é Lubber Das".
Or quadro portrays a humanist society that surrounds or painter and carries four people. A surgery for the removal of stones of loucura and feita ao ar free, em meio to a green desert field.
Or he supposed cirurgião carrega um funil na cabeça, as it is fosse a chapéu, and is considered by many critics as a charlatão. Bosch would escort him to dinner to denounce those who took advantage of the ingenuity of alheia.
Criticism would also extend to Igreja, we can see the image of a father present who seems to ratify the procedure that he is being ugly. A woman, also religious, runs a free head and assists in expressing any reaction or procedure in which or camponês seems to be deceived.
Christian Loubet, researcher of História da Arte, descreve o quadro da Seguinte Maneira:
"Num circular microcosm, a surgery (to science), a monge and a religious (to religion) explored an unhappy patient on the pretext of removing pedra da loucura from his brain. He has scared us in the face of falsity and manifest scan of the true alienation of two compadres (funil, dated book, sexed table ...): he is Cura da loucura. "
In the background landscape it seems to refer to the birthplace of Bosch because it presents a similar church with the Cathedral of São João and a characteristic plain of the region.
Extração da pedra da loucura é o oldest work preserved by Bosch. The work is an oil on wood with 48 cm by 45 cm and is located in the Prado Museum.
4. Or Prodigal Filho
Critics affirm that O Filho Prodigal was the last work painted by Hieronymus Bosch. A peça dated 1516 was referred to as a parable of the prodigal filho, a present biblical story not from Luke (15: 11-32).
A original story has as the protagonist or filho of a very rich homem who wishes to know the world. He is about to go to the country and he will be able to find an adjoining plot of land to go to and enjoy two fleeting prazeres of life. Or pai yields to or request, same going against the idea.
You must leave and take advantage of everything that life has to offer, or young rapacious is seen to be sozinho and sem resources and is forced to return, to ask for forgiveness to or pai. When he returned home, he received a large party, or country or period, or patrimony and reconstituted.
The Bosch painting illustrates precisely the moment of return of the young man to the house of the country, já sem dinheiro, tired, with modest and ragged suits and carrying mazelas with body hair. A house that appears in the background appears as degraded quanto or personagem: or teto tem um enormous furo, thus janelas is falling.
O Filho Prodigal is an oil on wood with a diameter of 0.715 and also belongs to the Prado Museum, located in Madrid.
5. You sete sins capitais
It is speculated that Os sete sins capitais had been painted by Bosch around 1485 and it is not possible to observe the first hybrid creatures that will be characteristic of his painting.
Monstrous beings appear in a rather discreet way, but will continue to be perpetuated in Bosch fabrics for two years. Nesse work in special transfer a pedagogical interest in transmitting knowledge that would be considered either good or correct through painting.
We see central illustrations of portraits of daily life, life in society in our domestic environments. The images present in the center represent gluttony, acidity, greed, luxuria, invege, valence and anger.
In the upper circle of the skeleton, we observe a dying man, provably receiving extreme union. No circle next to it is illustrated a representation of paradise as blue sky and religious entities. It is curious to observe or follow detail: a representation of Terra appears painted on us.
On the bottom side of the cloth, not a skeleton circle, we find a representation of the inferno with dark and dark tons and we witness human beings being tortured due to their sins.
Na imagem are written as follows: gluttony, sour, arrogant, greed, invege, anger and luxuria. The lower circle directly, for the time being, presents a portrait of the final judgment.
There are indications that this work has been inspired by Tapeçaria de Girona, a Christian art produced between the end of the eleventh century and the beginning of the twelfth century. A Tapeçaria e o quadro partilham um same theme Cristão and a quite similar structure. From the fourteenth century to religious iconography, he explored many or theme two seven capital sins, especially as a form of pedagogical diffusion.
6. Or car of feno
O Carro de Feno was provably conceived in 1510 and is considered two of Bosch's greatest works, next to O Jardim das Delícias Terrenas. Both works are triptychs and partilham um desire of Christian moralizing instruction. Through your brushstrokes, or reader, apart from instructing yourself, you are alerted: keep up with two sins.
O Bosch quadro seems to derive from an ancient flamenco dancer from his time that affirmed: "O mundo é um car de feno, each one takes or can throw."
On the squared plot of the square we find a dinner with Adam, Eve and Deus condemning you to saire of paradise. No bucolic garden, green and empty, we see the representation of cobra as a hybrid being (human goal and animal goal) that would tempt or homem.
In the center of the quadro we see many homens partilhando a series of sins: a cobiça, a vaidade, a luxúria, a ira, a preguiça, a avareza and a inveja. Or car of feno is surrounded by human beings that they tried, some with help of ferramentas, withdraw or maximum of feno that they get. Disadvantages, brigades and assassinations are what results from the competition for feno.
In the direct part of the work we find a representation of inferno as a fire ao founded, creatures demonic, an unfinished construction (had it been destroyed?) além sinners being tortured hair capeta.
O Carro de Feno belongs to the permanent collection of the Prado Museum, in Madrid.
Discover quem foi Hieronymus Bosch
Hieronymus Bosch was or pseudônimo escolhido Dutch hair Jheronimus van Aken. Born around 1450-1455, in a Dutch province of North Brabant, or like painting, this was not a family: Bosch was filho, irmão, niece, neat and great of painters.
Hieronymus Bosch took his first steps into the area - painting and taxing - alongside relatives, dividing or the same atelier. The painter lived with many supplies and a family with close relationships as a local religious power.
To the São João Cathedral, which was two highlights of the region, there were several works entrusted to the family of the painter. I even suppose that Bosch's country had come to paint an afresco na Igreja in 1444.
The artistic nickname Bosch was named in homage to his hometown of his-Hertogenbosch, which was informally called local hair dwellers like Den Bosch.
Embora he já tivesse boas condições para Pintura, or seu daily de trabalho melhorou ainda mais depois de ter se Married, in 1478, as a young rich country from a native region of a family of merchants from the vizinha city of Oirschot. Aleyt Goijaert van den Mervenne, wife, gave Bosch all the structure that the artist needed and some important contacts. O casal ficou together até o final da vida e não teve filhos.
Little is known about the personal life of the Dutch painter as well as the marriage with Aleyt. On the contrary, two painters, Bosch, did not record daily papers, correspondence or documents that released news from their private world.
His work was produced between the end of the Middle Ida and the beginning of the Renascimento-isto, during the end of the XV century and the beginning of the XVI century.
In Europe since the time lived a period of strong cultural boiling and not the beginning of the sixteenth century Bosch You will enjoy an excellent reputation in your country and abroad, especially in Spain, in Austria and in Spain. Italy.
No year 1567, or Florentine historian Guicciardini mentioned or work of the Dutch painter:
"Jerome Bosch de Boisleduc, very noble and admirable inventor of fantastic and bizarre things ..."
Dezessete years later, or intellectual Lomazzo, author of the Treatise on the art of painting, sculpture and architecture, commented:
"or Flamengo Girolamo Bosch, who in the representation of strange appearances and fearful and horrific dreams, was unique and truly divine."
We find his works of psychedelic, demonic or fantastic figures, but we also attend the reproduction of biblical passages. A woman of the painter belonging to Irmandade de Nossa Senhora and the pai de artist, Antonius van Aken, was an artistic councilor for Irmandade herself.
Between 1486 or 1487 Bosch joined together with his wife and his wife, a confraria Cristã who revered Virgem Maria. It is curious that Bosch was particularly interested in painting demons. In 1567, the Dutch historian Mark van Vaernewijc highlights the peculiarities of Bosch such as:
"or fazedor of demons, seen as not a rival to the art of painting demons."
O rei espanhol Filipe II was two great enthusiasts of Bosch painting and two great popularizers of him. To be finished with an idea of fascínio do rei, Filipe II chegou a ter thirty e six fabrics of Bosch in his private collection. Lifting-it was told that Bosch had left about forty pictures, it is to be scared that a greater number of fabrics are more than Spanish.
The Bosch style differed from two other pictures produced at the time, especially not that they say I respect the style. Seabra Carvalho, in front of the Museu Nacional de Arte Antiga de Lisboa, which shelters A tentação de Santo Antão, affirms in an interview about the art of the Dutch painter:
“This is a deeply moralistic painting. Consider Bosch um outsider é um erro: é-o just not artistic sense. He paints or what others paint, just in another way. We can say that or that he is delusional, but on the face of the imaginary part of his time of him. "
O painter saw to die in Holland (more precisely in Hertogenbosch), not on August 9, 1516.
Bosch e or surrealism
Condemned by some as being a herege, Bosch was the author of images considered strange, absurd, fanciful and psychedelic to his or her own time.
Many times are disconnected from reality, disproportionate or alluding to parallel universes, many images portrayed by Bosch will cause controversy among serious contemporaries.
You surrealBetween Dalí and Max Ernst, they drink a lot of work from the Dutch painter. In an interview granted in 2016 to the BBC, Charles de Mooij, director of the Noordbrabants Museum and specialist in Bosch, stated:
“Surrealists will prove that Bosch was the first‘ modern ’artist. Salvador Dalí studied the work of Bosch and rejoined him as his predecessor. "
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