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| Author's biography |
| Brilliant and original northern European painter of the late Middle Ages whose work reveals an unusual iconography of a complex and individual style. His real name was Jerome van Aeken (also spelled Aken or Aquen). Although at first recognized as a highly imaginative "creator of devils" and a powerful inventor of seeming nonsense full of satirical meaning, Bosch demonstrated insight into the depths of the mind and an ability to depict symbols of life and creation.Bosch was a pessimistic and stern moralist who had neither illusions about the rationality of human nature nor confidence in the kindness of a world that had been corrupted by man's presence in it. His paintings are sermons, addressed often to initiates and consequently difficult to translate. Unable to unlock the mystery of the artist's works, critics at first believed that he must have been affiliated with secret sects. Although the themes of his work were religious, his choice of symbols to represent the temptation and eventual ensnarement of man in earthly evils caused many critics to view Bosch as a practitioner of the occult arts. More recent scholarship views Bosch as a talented artist who possessed deep insight into human character and as one of the first artists to represent abstract concepts in his work. A number of exhaustive interpretations of Bosch's work have been put forth in recent years, but there remain many obscure details.An exact chronology of Bosch's surviving work is difficult because, of the approximately 35 to 40 paintings attributed to him, only 7 are signed and none are dated. There exists little documentary information on the early life of the artist, other than the fact that he was the son and grandson of accomplished painters. His name does appear on the register of the Brotherhood of Our Lady, located in the city of his birth, and there is mention of him in official records from 1486 until the year of his death, when he was acclaimed an Insignis pictor ("distinguished painter"). In addition to painting he undertook decorative works and altarpieces and executed designs for stained glass.Works attributed to his youthful period show an awkwardness in drawing and composition and brushwork somewhat limited in its scope. Such paintings as The Cure of Folly, Crucifixion, The Adoration of the Magi, The Seven Deadly Sins, The Marriage at Cana, "cce Homo, and The Conjurer are representative of this period. The presence of certain motifs, expanded in the more sophisticated works of the artist's middle period, and a limited technique, unsure yet bold, provide a beginning from which to view Bosch's artistic origins. Between the first painting in this early group, The Cure of Folly, and the last, The Conjurer, a steady development can be seen. The iconography of the latter is more complex, and the characteristic themes that received their fullest expression in the great masterpieces of his late period have begun to emerge.In these early paintings Bosch had begun to depict humanity's vulnerability to the temptation of evil, the deceptive allure of sin, and the obsessive attraction of lust, heresy, and obscenity. In calm and prosaic settings, groups of people exemplify the credulity, ignorance, and absurdities of the human race. However, the imagery of the early works is still relatively conventional, with only an occasional intrusion of the bizarre in the form of a lurking demon or a strangely dressed magician.To Bosch's fruitful middle period belong the great panoramic triptychs such as the Hay Wain, The Temptation of St. Anthony, and the Garden of Earthly Delights. His figures are graceful and his colours subtle and sure, and all is in motion in these ambitious and extremely complex works. These paintings are marked by an eruption of fantasy, expressed in monstrous, apocalyptic scenes of chaos and nightmare that are contrasted and juxtaposed with idyllic portrayals of mankind in the age of innocence. During this period Bosch elaborated on his early i |
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