![]() ![]() ![]() ![]() This intriguing new monograph by noted art historian Larry Silver interprets that artistic vision with admirable lucidity: it explains how Bosch’s understanding of human sin, morality, and punishment, which was conceived in an era of powerful apocalyptic expectation, shaped his dramatic visualizations of hell and of the temptations of even the most steadfast saints. Moreover, the considerable professional success that the artist enjoyed in his native Hertogenbosch, not to mention his membership in a traditional religious organization, suggests that he pursued not a sinister secret agenda but simply his personal artistic vision. Yet none of these theories has ever seemed to provide an adequate understanding of Bosch’s work. 1516) has been the source of widespread interest ever since the painter’s lifetime, and is still so enigmatic that scholars have theorized that it contains hidden astrological, alchemical, or even heretical meanings. The phantasmagoric imagery of Hieronymus Bosch (d. Four hundred little people frolic au naturel with overgrown songbirds and raspberries a pudgy blue demon serenades a fashionable young couple with a tune piped through his own elongated nose a knife-wielding set of disembodied ears stalks the ![]()
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