FREE HIERONYMUS BOSCH, PAINTER AND DRAUGHTSMAN: CATALOGUE RAISONNE PDF Matthijs Ilsink,Jos Koldeweij,Ron Spronk,Luuk Hoogstede,Robert G. Erdmann,Rik Klein Gotink,Hanneke Nap,Daan Veldhuizen | 608 pages | 21 Jun 2016 | Yale University Press | 9780300220148 | English | New Haven, United States Hieronymus Bosch, Painter and Draughtsman: Catalogue Raisonné by Matthijs Ilsink To browse Academia. Skip to main content. Log In Sign Up. Download Free PDF. Matthijs Ilsink. Bosch online web application with documentation on all the paintings and BoschDoc documents on Bosch and his Hieronymus Bosch to Hieronymus Bosch be accessed Hieronymus Bosch the website Boschproject. Stad Brugge, www. No part of this publication Edited and designed by Endpapers may be reproduced or transmitted in any form Paul van Calster, Anagram, Ghent Visions of the Hereafter, detail from or by any means, electronic or mechanical, the reverse of the Ascent of the including photocopy, recording or any other Production supervision Blessed [cat. Some of his works have a pedigree that dates back a very long way indeed, the most com- plete being that of the Garden of Earthly Delights; the triptych is recorded in the palace of the Counts of Nassau in Brussels as early asand we can track its whereabouts more or less continuously from that moment through to the present. All the same, the outlines of an oeuvre have emerged since the late nineteenth century in the shape of a body of works ascribed to Bosch on stylistic grounds. This nucleus crystallized in the course of Hieronymus Bosch twentieth century into a fairly generally accepted corpus of some twenty-ive paintings. The scholarly goal was to gain a better understanding of questions like: What is a Bosch? Which paint- ings and drawings are by his hand? What relationships exist within his oeuvre? How reliable are the attributions? What did pupils and assistants contribute? No fewer than nine panels and triptychs by Bosch were restored by or in close consultation with the brcp in the period —15, while two more triptychs were restored to their former glory in Spain. As oftherefore, almost half the autograph paintings by Hieronymus Bosch have been given back their original lustre thanks to the eforts and commitment of highly Hieronymus Bosch restorers in Italy, Belgium, Spain, France, the Netherlands and the United States. The Bosch Research and Conservation Project was proposed as a tentative, dream initiative in Hieronymus Bosch less than a decade later, we can present its substantive results. The Bosch Research and Conservation Project was set up as a collaborative venture between the Jheronimus Bosch Foundation, the Noordbrabants Museum and Radboud Uni- versity Nijmegen, following which the research itself could get under way. Backed by an academic committee and a Hieronymus Bosch board — whose members are listed on page 5 — we established an interdisciplinary team, which began as Hieronymus Bosch ive-strong core that was subsequently extended to eight specialists, all of whom contributed their own speciic expertise. We feel justiiably proud there- fore in presenting ourselves as a team on the title page and of signing of on our work together. We can now look Painter and Draughtsman: Catalogue Raisonne with satisfaction at several years of intensive and fruitful collaboration. The Bosch Research and Conservation Project is a long-term, complex initiative, which has come about with the help of many people. We are grateful to everyone for the assistance we have received in recent years. Our thanks are due in the irst place, of course, to those who took the initiative: Mayor Ton Rombouts and Charles de Hieronymus Bosch, Director of the Noordbrabants Museum. Erdmann, assisted by Travis Sawyer, developed the digital infrastructure to enable all the visual material to be presented online using the latest techniques Boschproject. None of this would have been possible, however, without the inancial foundations laid by various public authorities, institutions, foundations and sponsors, via the aforementioned Jheronimus Bosch Foundation. Special thanks are due to the Gieskes-Strijbis Fund, which supported the research project very generously. It is impossible to name everyone who helped us devise and perform our research, and to whom we owe our sincere gratitude. Note to the Reader catalogue numbers captions: conventions and abbreviations Catalogue numbers cat. Painted sides of triptychs and other case of a composite work, by a letter indicating the painted composite works have been given an alphabetical suix: side is included in square brackets: e. The few paintings that the brcp was not able to document or examine Painter and Draughtsman: Catalogue Raisonne also included. The research likewise took in the most important of those paintings that were long ascribed to Bosch or his workshop and in some cases still arebut which do not, in our opinion, belong Painter and Draughtsman: Catalogue Raisonne that group. We explain here why we believe there are insuicient grounds for retaining the work within the oeuvre. The detailed technical data and observations relating to the paintings are set out in the equally richly illustrated counterpart to this book, Hieronymus Bosch, Painter and Draughtsman: Technical Studies referred to throughout this volume as brcp, Technical Studies. Most of the sheets in question have been ascribed to Bosch at one time or another, but the Infer- nal Landscape cat. Christ Carrying the Cross in Vienna cat. All these works are shown here in their restored state for the irst time. You will ind the same here on a large scale and at a previously unattainable level of quality. Despite this, a great deal more brcp material is available. To enable readers to view for them- selves comparisons that are made in the text but could not be illustrated in the book, several links have been included to the Boschproject. This allows Hieronymus Bosch to zoom in even more or to view a particular detail that is not illustrated in the book. Then we would still have the two Hieronymus Bosch. Scripta manent. Precisely when he began to do so is not known, but it might well have coincided with the moment in —88 when he became a sworn member of the Brotherhood of Our Lady. Not only did the artisan-painter now belong to an ig 2 urban elite familiar with Latin, he had also achieved high artistic status. The way he signed his name was entirely new: in clearly legible, calligraphed letters, which he henceforward placed systematically along the lower edge of his paintings — Hieronymus Bosch in black, but twice in light yellow and once even in gold. If we take this at face value, it tells us that the artist signed using that name rather than that he was known by it locally. There is very little reference to their work in the archives either. Hieronymus Bosch lived with his second wife, identiied only as Christina, Painter and Draughtsman: Catalogue Raisonne Vughterstraat. The couple had ive children — two daughters and three sons, one of whom was Hiero- nymus. It was one of seven buildings there of similar size, which served as homes and workshops for better-of craftsmen. The second son, Johannes Anthoniusz, likewise joined the Brotherhood of Our Lady and died in about He died at the beginning of August Following the death of Anthonius van Aken inthe house on the east side of the market square passed to his eldest son, Goeswinus,14 who will have lived there until his own death. Names of family members recorded as painters are in bold type. The Latin version of his forename was, of course, the most formal. The pop- ularity of the Church Father Jerome surged in the ifteenth and sixteenth centuries, driven in the Low Countries primarily by the Devotio Moderna or Modern Devotion, a movement committed to spiritual regeneration, which included the Brethren of the Common Life. There is no concrete evidence, however, to identify the speciic location or patron for which Bosch produced these paintings. There is no irm proof of this, Hieronymus Bosch. The artistic trades seem largely to have been incorporated in other guilds. On the irst occasion, he was included with Hieronymus Bosch father Anthonius, his sister Katharina and his two brothers Goeswinus and Johannes; on the second, with his father alone. On this occasion, Hieronymus was acting on his own behalf for the irst time, and Painter and Draughtsman: Catalogue Raisonne recorded as being married to Aleid van de Meervenne, the daughter of a fairly well-of family. Bosch lived in the house until his death, and his widow, Aleid, remained there for over six more years. The taxes — zettingen and ruitergeld — for which Bosch was liable32 were high compared with those of other master craftsmen, suggesting that he was relatively prosperous. For the time being, the rea- sons for this remain wholly unclear. This was, at any rate, the name given to the building from the s onwards. The wings were meanwhile given to Anthonius van Aken to be painted,44 for which he received an advance of 33 Rhenish lorins. Whatever the case, the diferent hands detected Painter and Draughtsman: Catalogue Raisonne the underdrawing and painting of the surviving panels that can be linked to Hieronymus Bosch tell us that close collaboration occurred at the workshop with Painter and Draughtsman: Catalogue Raisonne variety of draughtsmen and painters. The appearance of identical or very similar motifs and forms in paintings Hieronymus Bosch within his immediate circle suggests the same thing. A clear example can be found in Hieronymus Bosch triptych Hieronymus Bosch by Peter van Os and Henrickxen van Langel cat. We know from later sources that it was Hieronymus who painted the cen- tral panel of the altarpiece,52 making the overall work a joint production of the two broth- ers.