Some of the bizarre details in: The Garden of Earthly Delights (1490-1510), Hieronymus Bosch. Oil-on-wood triptych, 220 x 389 cm, Museo del Prado.
The source/meaning of many of the beings and images portrayed by Bosch are rather obscure and rarely seen in the paintings of his contemporaries. Many believe that Bosch was a reclusive madman who conceived of such beings himself, while others, including myself, are of the opinion that Bosch merely applied to painting figures that for the age were common-place in other media, but not painting, and that we have lost most of the sources which might have inspired Bosch’s beings (The study of demonology), although there might be a few that we are aware of. One such supposed inspiration was the St. John’s Cathedral in ‘s-Hertogenbosch, Bosch’s home town (and after which he took his name), specifically the gargoyles and figures adorning its buttresses. Something else that Bosch might have drawn inspiration from is marginalia from manuscripts-small doodles done on the margins of pages, as such.
Mantegna Tarocchi “Fool (Beggar) with Dog” might be the earliest. There are good chances, that this figure was influenced by Alberti’s (= Lucian’s) Momus (written 1443 - 1450) and Momus declared (in Alberti’s text), that he found the role as beggar quite interesting … and further by the theme “Diogenes with dogs”. Some estimate the Mantegna Tarocchi (E-series) to 1465, we suggest 1475
Hieronymus Bosch, 1504-05,
St John the Evangelist on Patmos,
oil on oak, 63x43, Staatliche Museen, Berlin.
(via arthistoryx)
Jan (Jean) Mandyn (Holland, 1500 - 1559)
Bosch- Christ child walking with frame (1480).
Couldn’t resist the cuteness
I am assuming that this is from a lost painting by Bosch.
Pieter van der Heyden (after Alaert du Hamel after Hieronymus Bosch)
The Last Judgement, 1478-1509
Engraving
The left wing of the triptych represents the Paradise.
Here, across the three inner panels, appear the First and Last Things, beginning with the Fall of Man on the left wing.
The story recounted in the second and third chapters of Genesis has been placed in a lush garden; in the foreground we see the creation of Eve, followed by the temptation of the First Couple. In the middle distance they are driven from the garden by an angel. The expulsion of Adam and Eve from Eden is paralleled above by the expulsion from Heaven of the Rebel Angels, who are transformed into monsters as they descend to earth. Although the revolt of proud Lucifer and his followers is not mentioned in Genesis, it appears in Jewish legends and entered Christian doctrine at an early age. These were the angels who sinned and whose prince, envying Adam, caused him to sin in turn. It was further believed that Adam and Eve had been created by God in order that their offspring might fill the places left vacant by the fallen angels. In this panel, Bosch thus depicted the entrance of sin into the world and accounted for the necessity of the Last Judgment.
The inclusion of the Fall of Adam and Eve in a representation of the Last Judgment is unusual; the other two panels of the Vienna triptych depart even more from traditional iconography.
WGA
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In the Woods at Giverny, Blanche Hoschedé at Her Easel with Suzanne Hoschedé Reading, 1887, Claude Monet.
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Félix Edouard Vallotton, Femme assise dans un fauteuil
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GPOY I’M GLAD MONDAY IS ALMOST OVER
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Julia Gukova. Illustration from The Legendary Unicorn, 2004
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Wingate Paine
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6in:
Ushio Amagatsu
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Eleanor Fortescue Brickdale, The Uninvited Guest