MONSTERS???. HIERONYMUS BOSCH Hieronymus, or Jerome, Bosch, b. c.1450, d. August 1516, spent his...
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MONSTERS???. HIERONYMUS BOSCH Hieronymus, or Jerome, Bosch, b. c.1450, d. August 1516, spent his entire artistic career in the small Dutch town of Hertogenbosch,
HIERONYMUS BOSCH Hieronymus, or Jerome, Bosch, b. c.1450, d.
August 1516, spent his entire artistic career in the small Dutch
town of Hertogenbosch, from which he derived his name. The
Extraction of the Stone of Madness (The Cure of Folly) c. 1475-80
(200 Kb); Oil on board, 48 x 35 cm (18 7/8 x 13 3/4"); Museo del
Prado, Madrid Removing "stones" from the head was a fairly common
medieval operation; however, for some reason Bosch has painted a
flower as the object being removed
Slide 3
c.1485 (50 Kb); Prado, Madrid The Seven Deadly Sins is a
painted rectangle with a central image of the eye of God, with
Christ watching the world. The Seven Deadly Sins, depicted through
scenes of worldly transgression, are arranged around the circular
shape. The circular layout with god in the centre represents gods
all seeing eye No sin goes unnoticed. In the corners of the image
appear the "Four Last Things" mentioned in late medieval spiritual
handbooks: Deathbed, the Last Judgment, Heaven, and Hell, all of
which are favorite themes of separate Bosch panels.
Slide 4
Paradise Left wing (180 Kb); 147 x 66 cm Haywain Central panel
(210 Kb); 140 x 100 cm Hell Right wing (180 Kb); 147 x 66 cm
Slide 5
The subject of sin and its punishments was central to all of
Bosch's art. Another famous triptych, the Haywain (c.1485-90;
Prado, Madrid), contains a similar progression of sin, from Eden to
hell, across its panels. In the central panel sin is represented
through the metaphor of a large wagonload of hay for which a greedy
world grasps. All the while, the wagon is being pulled by demons
towards the right panel - which shows one of Bosch's earliest
depictions of hell.
Slide 6
Bosch's most famous and unconventional picture is The Garden of
Earthly Delights (c.1500; Prado, Madrid) which, like most of his
other ambitious works, is a large, 3-part altarpiece, called a
triptych. This painting was probably made for the private enjoyment
of a noble family. It is named for the luscious garden in the
central panel, which is filled with cavorting nudes and giant birds
and fruit. The triptych depicts the history of the world and the
progression of sin. Beginning on the outside shutters with the
creation of the world, the story progresses from Adam and Eve and
original sin on the left panel to the torments of hell, a dark,
icy, yet fiery nightmarish vision, on the right. The Garden of
Delights in the center illustrates a world deeply engaged in sinful
pleasures. altarpiece In reference to astrological alignments at
the time this was painted, a lot of the instruments of torture are
also musical instruments.also musical instruments.
Slide 7
Creation of the World Outer wings (shutters), depicting the
third day of creation (140 Kb)
Slide 8
Slide 9
Garden of Earthly Delights (Ecclesia's paradise) Central panel
(280 Kb)80 Kb) The Earthly Paradise (Garden of Eden) Left wing (180
Kb)80 Kb) Hell Right wing (180 Kb)ight wing (180 Kb) Bird-Headed
Monster Detail from right wing (320 Kb)
Slide 10
The unique vision of Bosch The extraordinary painter Hieronymus
Bosch (c. 1450-1516) stands apart from the prevailing Flemish
traditions in painting. His style was unique, strikingly free, and
his symbolism, unforgettably vivid, remains unparalleled to this
day. Marvellous and terrifying, he expresses an intense pessimism
and reflects the anxieties of his time, one of social and political
upheaval. Very little is known about Bosch, which somehow seems
fitting since his work is so enigmatic. We know that he adopted the
name of the Dutch town of s'Hertogenbosch (near Antwerp) as his
own, that he belonged to an ultra-orthodox religious community
called the Brotherhood of Mary, and that in his own day he was
famous. Many of his paintings are devotional, and there are several
on the theme of the Passion. He is specially famous for his
fantastic, demon-filled works, one of which is The Temptation of St
Anthony. The Temptation of St Anthony
Slide 11
Outer Wings Grisaille on panel (180 Kb), 131 x 53 cm Left:
Arrest of Christ in the Garden of Gethsemane Right: Christ Carrying
the Cross
Slide 12
Left Wing Flight and Failure of St Anthony (190 Kb), 131.5 x 53
cm Right Wing St Anthony in Meditation (190 Kb), 131.5 x 53 cm
Central panel Temptation of St Anthony (210 Kb), 131.5 x 119 cm (52
x 47 in)
Slide 13
ODILON REDON Redon, Odilon (1840-1916). French painter and
graphic artist, one of the outstanding figures of Symbolism. He had
a retiring life, first in his native Bordeaux, then from 1870 in
Paris, and until he was in his fifties he worked almost exclusively
in black and white, in charcoal drawings and lithographs. In these
he developed a highly distinctive repertoire of weird subjects
(strange amoeboid creatures, insects, and plants with human heads
and so on), influenced by the writings of Edgar Allen Poe. He
remained virtually unknown to the public until the publication of
J.K. Huysmans's celebrated novel A Rebours in 1884; the book's
hero, a disenchanted aristocrat who lives in a private world of
perverse delights, collects Redon's drawings, and with his mention
in this classic expression of decadence, Redon too became
associated with the movement.
Slide 14
Guardian Spirit of the Waters 1878 (210 Kb); Charcoal, 46.6 x
37.6 cm; The Art Institute of Chicago
Slide 15
Spirit of the Forest (Specter from a Giant Tree) 1880 (210 Kb);
Charcoal and black chalk heightened wiith white chalk, 45.7 x 28.5
cm; The Woodner Family Collection, New York
Slide 16
The Crying Spider 1881 (230 Kb); Charcoal, 49.5 x 37.5 cm;
Private collection, The Netherlands
Slide 17
Cactus Man 1881 (260 Kb); Charcoal, 49 x 32.5 cm; The Woodner
Family Collection, New York
Slide 18
Mystery undated (160 Kb); Oil on canvas, 73 x 53.9 cm (28 3/4 x
21 1/4 in); The Phillips Collection, Washington, D.C.
Slide 19
During the 1890s Redon turned to painting and revealed
remarkable powers as a colorist that had lain dormant. Much of his
early life had been unhappy, but after undergoing a religious
crisis in the early 1890s and a serious illness in 1894-95, he was
transformed into a much more buoyant and cheerful personality,
expressing himself in radiant colors in mythological scenes and
flower paintings. He showed equal facility in oils and pastel. The
flower pieces, in particular, were much admired by Matisse, and the
Surrealists regarded Redon as one of their precursors. He was a
distinguished figure by the end of his life, although still a very
private person.MatisseSurrealists Early charcoals (1878-85) Les
yeux clos (Closed Eyes) 1890 (190 Kb); Oil on canvas mounted on
cardboard, 44 x 36 cm (17 3/8 x 14 1/4 in); Musee d'Orsay,
Paris
Slide 20
The Golden Cell 1892 (190 Kb); Oil and gold metallic paint on
paper prepared with white ground, 30.1 x 24.6 cm; The British
Museum
Slide 21
Woman with a Yellow Bodice c. 1899 (240 Kb); Pastel, 66 x 50
cm; Museum Kroller- Mueller, Otterlo, The Netherlands
Slide 22
Ophelia c. 1900-05 (210 Kb); Pastel on paper mounted on board,
50.5 x 67.3 cm (19 7/8 x 26 1/2 in); The Woodner Collection
Slide 23
Parsifal c. 1912 (160 Kb); Pastel on beige paper, 66 x 52 cm
(26 x 20 1/2 in); Musee d'Orsay, Paris
Slide 24
The Cyclops c. 1914 (240 Kb); Oil on canvas, 64 x 51 cm; Museum
Kroller- Mueller, Otterlo, The Netherlands
Slide 25
FRANCIS BACON Bacon, Francis 1909-92, English painter; b.
Ireland. Self-taught, he expressed the satirical, horrifying, and
hallucinatory in such works as Three Studies for Figures at the
Base of a Crucifixion (1944; Tate Gall., London). Oil and sand on
canvas; Three panels, each 198.1 x 144.8 cm (78 x 57 in); Solomon
R. Guggenheim Museum, New York
Slide 26
Oil on canvas; Three panels, each 198.1 x 147.3 cm (78 x 58
in); Collection of the artist (?) Second Version of Triptych
1944
Slide 27
Head VI 1949 (290 Kb); Oil on canvas, 93.2 x 76.5 cm (36 5/8 x
30 1/8 in); Arts Council of Great Britain, London
Slide 28
Study for Crouching Nude 1952 (230 Kb); Oil and sand on canvas,
198.1 x 137.2 cm (78 x 54 in); The Detroit Institute of Arts
Slide 29
Study After Velazquez's Portrait of Pope Innocent X 1953 (200
Kb); Oil on canvas, 153 x 118.1 cm (60 1/4 x 46 1/2 in); Des Moines
Art Center, IowaVelazquez
Slide 30
Man with Dog 1953 (150 Kb); Oil on canvas, 152.1 x 116.8 cm (59
7/8 x 46 in); Albright-Knox Art Gallery, Buffalo
Slide 31
Self-Portrait 1971 (200 Kb); Oil on canvas, 35.5 x 30.5 cm (14
x 12 in); Musee National d'Art Moderne, Centre Georges Pompidou,
Paris
Slide 32
Munch Melancola 1892-3 leo sobre tela Coleccin Rasmus Meyer,
Bergen. Noruega. EDWARD MUNCH
Slide 33
Munch El grito 1893 leo sobre tela Galera Nacional de Oslo.
(una de las versiones)
Slide 34
Munch Angst 1896 Litografas NY, MoMA
Slide 35
HANNAH HOCH PHOTOMONTAGE
Slide 36
Hannah Hoch Belleza extraa (izquierda) / The Sweet One
(derecha) Fotomontajes De la serie Museo etnogrfico 1925-30