Visions of Genius 13 Feb – 8 May 2016 Den Bosch, the Netherlands

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Visions of Genius 13 Feb – 8 May 2016 Den Bosch, the Netherlands

Images & Information High-resolution images and further information about Hieronymus Bosch, the exhibition, the Hieronymus Bosch 500 year and the city of Den Bosch can be found on the website of the Noordbrabants Museum: www.hnbm.nl>pers Conditions of use Images may be used only by accredited media in coverage of this 13 Feb – 8 May 2016 exhibition. The caption and credit must always be stated. Please send a copy of the publication to: [email protected] or Visions of genius Den Bosch, The Netherlands Het Noordbrabants Museum, attn Marketing & Communications, Jheronimus Bosch PO Box 1004, 5200 BA ’s-Hertogenbosch, The Netherlands Visions of the Hereafter, ca. 1505-15 Credits 1 2 Venezia, Museo di Palazzo Grimani 1 Photo: Rik Klein Gotink and Robert G. Erdmann for the From left to right Bosch Research and Conservation Project The Road to Heaven, Earthly Paradise Note Jheronimus Bosch The Road to Heaven, Ascent to Heaven 2 Panel is currently being restored. Christ Child – Carrying of the Cross, ca. 1490-1510 The Road to Hell, Fall of the Damned New images will be available January 2016. Wien, Kunsthistorisches Museum, Gemäldegalerie 1 2 The Road to Hell, Hell Het Noordbrabants Museum. Photo: Joep Jacobs Jheronimus Bosch The Hay Wain, 1510-16 Jacques Le Boucq Madrid, Museo Nacional del Prado 1 Portrait of Hieronymus With the special collaboration of Jheronimus Bosch Bosch, ca. 1550, Arras, The Museo Nacional del Prado. Saint John on Patmos – Passion scenes, Bibliothèque Municipale The draper’s market in Images provided upon request. ca. 1490-95 ’s-Hertogenbosch, Berlin, Staatlichen Museen zu Berlin, ca. 1530, Den Bosch, Gemäldegalerie 1 Het Noordbrabants Museum August Falise Jheronimus Bosch Statue Hieronymus Bosch, 1929, Saint Jerome in the Wilderness, ca. 1485-95 market square Den Bosch Gent, Museum voor Schone Kunsten 1 2 Jheronimus Bosch Triptych of the Hermit Saints, ca. 1495-1505 Venezia, Gallerie dell’Accademia 1 2 Jheronimus Bosch Jheronimus Bosch Glutony (fragment of the Adoration of the Magi, ca. 1470-80 Ship of Fools), New York, The Metropolitan Museum of Art, ca. 1500-10 Jheronimus Bosch John Stewart Kennedy Fund, 1913 1 2 New Haven (USA), Yale Infernal Landscape 1 University Art Gallery 1 private collection Jheronimus Bosch Death and the Miser, ca.1500-10 Washington, National Gallery of Art, Samuel H. Kress Collection1 Jheronimus Bosch Jheronimus Bosch Jheronimus Bosch The Last Judgment, ca. 1495-1505 Saint John the Baptist, ca. 1490-95 The Ship of Fools, ca. 1500-10 Brugge, Stad Brugge, Groeningemuseum 1 2 Madrid, Museo Fundación Lázaro Galdiano 1 Paris, Musée du Louvre, Département des Peintures 1 2.

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Jheronimus Bosch-His Sources
In the concluding review of his 1987 monograph on Jheronimus Bosch, Roger Marijnissen wrote: ‘In essays and studies on Bosch, too little attention has been paid to the people who Jheronimus Bosch: his Patrons and actually ordered paintings from him’. 1 And in L’ABCdaire de Jérôme Bosch , a French book published in 2001, the same author warned: ‘Ignoring the original destination and function his Public of a painting, one is bound to lose the right path. The function remains a basic element, and What we know and would like to know even the starting point of all research. In Bosch’s day, it was the main reason for a painting to exist’. 2 The third International Bosch Conference focuses precisely on this aspect, as we can read from the official announcement (’s-Hertogenbosch, September 2012): ‘New information Eric De Bruyn about the patrons of Bosch is of extraordinary importance, since such data will allow for a much better understanding of the original function of these paintings’. Gathering further information about the initial reception of Bosch’s works is indeed one of the urgent desiderata of Bosch research for the years to come. The objective of this introductory paper is to offer a state of affairs (up to September 2012) concerning the research on Bosch’s patronage and on the original function of his paintings. I will focus on those things that can be considered proven facts but I will also briefly mention what seem to be the most interesting hypotheses and signal a number of desiderata for future research.
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DOORWAYS TO THE DEMONIC AND DIVINE: VISIONS OF SANTA FRANCESCA ROMANA AND THE FRESCOES OF TOR DE’SPECCHI BY SUZANNE M. SCANLAN B.A., STONEHILL COLLEGE, 2002 M.A., BROWN UNIVERSITY, 2006 A DISSERTATION SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY IN THE DEPARTMENT OF HISTORY OF ART AND ARCHITECTURE AT BROWN UNIVERSITY PROVIDENCE, RHODE ISLAND MAY, 2010 © Copyright 2010 by Suzanne M. Scanlan ii This dissertation by Suzanne M. Scanlan is accepted in its present form by the Department of History of Art and Architecture as satisfying the dissertation requirement for the degree of Doctor of Philosophy Date_____________ ______________________________________ Evelyn Lincoln, Advisor Recommended to the Graduate Council Date______________ ______________________________________ Sheila Bonde, Reader Date______________ ______________________________________ Caroline Castiglione, Reader Approved by the Graduate Council Date______________ _____________________________________ Sheila Bonde, Dean of the Graduate School iii VITA Suzanne Scanlan was born in 1961 in Boston, Massachusetts and moved to North Kingstown, Rhode Island in 1999. She attended Stonehill College, in North Easton, Massachusetts, where she received her B.A. in humanities, magna cum laude, in 2002. Suzanne entered the graduate program in the Department of History of Art and Architecture at Brown University in 2004, studying under Professor Evelyn Lincoln. She received her M.A. in art history in 2006. The title of her masters’ thesis was Images of Salvation and Reform in Poccetti’s Innocenti Fresco. In the spring of 2006, Suzanne received the Kermit Champa Memorial Fund pre- dissertation research grant in art history at Brown. This grant, along with a research assistantship in Italian studies with Professor Caroline Castiglione, enabled Suzanne to travel to Italy to begin work on her thesis.
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TRANSLATING MAGIC: REMEDIOS VARO’S VISUAL LANGUAGE A THESIS IN Art and Art History Presented to the Faculty of the University Of Missouri-Kansas City in partial fulfillment of The requirement for the degree MASTER OF ARTS by MEREDITH DERKS B.A., University of Missouri-Kansas City, 2011 Kansas City, Missouri 2017 © 2017 MEREDITH DERKS ALL RIGHTS RESERVED TRANSLATING MAGIC: REMEDIOS VARO’S VISUAL LANGUAGE Meredith Derks, Candidate for the Master of Arts Degree University of Missouri-Kansas City, 2017 ABSTRACT Remedios Varo was fascinated by esoteric subject matter. Her studies included alchemy, Russian mysticism, Tarot, and the occult. While her paintings frequently depict a scientist, explorer, or some magical figure in a meticulously rendered setting there is a deeper understanding to be gained though examining what Varo studied and how she used specific iconography and references in her work. Varo created her own personal symbolic language, which, once learned, allows the viewer to read her paintings. Each chapter of this thesis aims to dissect an aspect of Varo’s work, or a source of inspiration for her work, in an effort to translate Varo’s personal visual language. After the first introductory chapter, the second chapter will look at the symbol of the mountain and its incorporation into Varo’s oeuvre. The third chapter discusses Varo’s attachment to Hieronymus Bosch and the influence his work had on her. The fourth chapter uses the Tarot, and its iconography, as well as the Surrealist’s interpretation of the Tarot and examines where certain visual cues can be seen in her work.
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PDF Hosted at the Radboud Repository of the Radboud University Nijmegen
PDF hosted at the Radboud Repository of the Radboud University Nijmegen The following full text is a publisher's version. For additional information about this publication click this link. http://hdl.handle.net/2066/167086 Please be advised that this information was generated on 2021-09-24 and may be subject to change. Jerusalem and Other Holy Places As Represented by Jheronimus Bosch Jos KOLDEWEIJ Various works painted by Jheronimus Bosch the model drawing of the Entombment (British refer to specific locations, to places in which Museum), all the Passion scenes by Bosch are particular events have to be situated: these are set in a landscape and are given an architectural chiefly scenes from the life of Christ. In a more context. The staging of the landscape of St John general sense, Bosch also gave a particular char- on Patmos and John the Baptist, as well as that of acter to the environment in which he painted Sts Jerome and Anthony, deliberately suggests a his saints. It is remarkable that, on the one hand, non-realistic representation of the topography. Jheronimus Bosch drew and painted with the utmost precision the animals, people and objects Knowledge of the Near East that he observed, while, on the other, he was to- tally unconcerned about realistic topographical When we take into consideration Jheronimus representation. Even more remarkably, he de- Bosch’s socio-cultural context we must assume picted the holy places using urban architecture that he would have been acquainted, to a cer- that was either a general reference to his own tain extent, with exotic buildings in the Near surroundings, or else was composed of bizarre East.
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PDF hosted at the Radboud Repository of the Radboud University Nijmegen The following full text is a publisher's version. For additional information about this publication click this link. http://hdl.handle.net/2066/132856 Please be advised that this information was generated on 2021-09-24 and may be subject to change. Art as History, History as Art Jheronimus Bosch and Pieter Bruegel the Elder assembling knowledge not setting puzzles Proefschrift ter verkrijging van de graad van doctor aan de Radboud Universiteit Nijmegen op gezag van de rector magnificus prof. dr. Th.L.M. Engelen, volgens besluit van het college van decanen in het openbaar te verdedigen op donderdag 27 november 2014 om 10.30 uur precies door Stephen Graham Hitchins geboren op 28 februari 1949 te Rochester (Verenigd Koninkrijk) Promotor Prof. dr. A.M. Koldeweij Manuscriptcommissie Prof. dr. V. Manuth Prof. dr. P.J.A. Nissen Prof. dr. M. Sellink (Universiteit Gent, BE) Brepols Nijmeegse Kunsthistorische Studies Radboud Universiteit Nijmegen Art as History, History as Art Jheronimus Bosch and Pieter Bruegel the Elder assembling knowledge not setting puzzles Doctoral Thesis to obtain the degree of doctor from Radboud University Nijmegen on the authority of the Rector Magnificus prof. dr. Th.L.M. Engelen, according to the decision of the Council of Deans to be defended in public on Thursday, November 27, 2014 at 10.30 hours by Stephen Graham Hitchins born in Rochester (United Kingdom) on February 28, 1949 Supervisor Prof. dr. A.M. Koldeweij Doctoral Thesis Committee Prof. dr. V. Manuth Prof. dr. P.J.A. Nissen Prof.
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