The Mystical Artist Whose Paintings Kickstarted The Dutch Renaissance | Great Artists | Perspective

In the year 1500, the European continent was about to leave the Middle Ages behind and enter a brave new chapter in History. The following decades can now be seen as the birth of our own Modern Age. It was a time of discovery both geographically and intellectually in art, the spirit of the Renaissance flourished especially in the

great

cities of Italy. It was a time when reason and science began to replace superstition and myth and Europe would never be the same when the old way of life began in the 16th century. Still persisting both here in Italy and in the Alps in northern Europe, in the Netherlands and elsewhere, the medieval spirit still determined much of everyday life and it was this that inspired one of the most notable

artist

s of all times, a man who recognized the follies of man. and sought to warn against them in often horrific terms a man

whose

own Christianity mixed with the folklore of the time and expressed itself through his own

artist

ic genius this was the first of the Dutch masters Hieronymus Bosch the Dutch tradition of painting It is one of the most enduring features in the history of Western art.

For centuries the lands of modern Holland and Belgium had been a focal point of truly

great

artistic achievement. By 1450 the Netherlands had already produced painters of the caliber of Roger Fandaviden and Jan van Ike, just two of many great

artists

of the 15th century and early 16th century, donor portraits and religious commissions generated work for a large number of Dutch painters

whose

skills were often concentrated within families. One of those families lived in the city near Antwerp, in what was then the duchy of Brabant. We know that in the year 1431 a man named Jan van Arken settled here as a painter and four of his five children also became successful

artists

.

Jan van Arkhan's grandson, Eurowan, became the best-known member of the family and is known today by his pseudonym. He adopted a name derived from that of Hieronymus Bosch's hometown; we do not know why Hiro and Van Arkhan adopted the working title from him, but this lack of knowledge is not entirely surprising. Details of Bosch's life are extremely scarce. Virtually nothing is known about him for sure. He was born in Bosch around the year 1450 and it is probable that he remained here all his life. We also know that he married a wealthy woman around 1480 and that he was a member of a local religious order, the Brotherhood of Our Lady.

His death in 1516 completes the historical record of him, but beyond these few scant details, the life of Hieronymus Bosch is almost a total mystery. It is through the concerns of his art, but we must try to identify the concerns of his life. He is one of the men of the Dutch painters whose date of birth. We don't know and there will be less concern when trying to date his first works. We assume he was born in 1425 or 1430 somewhere in that group because of a document that establishes him as an artist, the kind of time when most join the gilders and Luke and um, there's a wedding contract and they dispute a relative by marriage and so on, these strange little things survive and we know that he died in 1516.

And that's it and we end up with having to fit into an extraordinary body. work nobody has ever known how to do it and everyone is out to do it with absolute Authority you compare one Authority with another and Nothing fits what we know about him are small fragments fragments for example that Carl Van Manda mentions in his life of uh of of he is a very, very short life, I mean, it's basically two pages and he tells us some things about his technique, he tells us some things about some works that he has done, but you know that these works have not survived, we have not.

I know it's even his because you know that Karl Banbanda died and wrote his text, sort of like little lessons, 100 years after Bosch himself died in the mid-1470s. Hieronymus Bosch was active as an artist and his first surviving works reveal an artistic concern. That would also appear in his most important work. Like many of the painters of the time, the young Bosco turned to the Bible as a theme, as we can see in this panel that illustrates the wedding at Cana. The Gospel of Saint John describes the wedding at Cana as the scene of one of Christ's best-known miracles, the conversion of water into wine in Hieronymus Hieronymus's painting.

The welcome consequences of the miracle can be clearly seen, as can the divine figure of Christ himself, but this is not an overwhelmingly spiritual image, a strong sense of flawed humanity. It was revealed with a symbolism that strongly contributed to the effect. Bosch's contemporaries would have immediately recognized the spitting swan as a symbol of sexual promiscuity and the magician's presence reminds modern viewers that many medieval people had faith in more than just the power of Christ in the 15th century. Belief in magic in Europe was widespread and Bosch chose to address the subject in

paintings

such as The Conjurer.

Also from the beginning of his career we have witnessed a scene whose message is more immediate than that of the wedding at Cana. A conjurer apparently produces a frog from the mouth of a man whose faith in the power of magic is comically obvious, but The Conjurer has no real magical powers, but is instead a trickster who uses the Frog as a cunning ploy to distract attention. while their consummates steal the pocket of the hypnotized person. man we can still appreciate the humor of this painting because the foolishness of men did not become extinct with the Middle Ages.

Many of the sentiments of Bosch's study of the human Folly Express remain relevant today, although the immediate subject can often be dark this small panel provides an example What is illustrated here is a strange medical phenomenon often referred to in medieval Dutch folklore. Stupidity was thought to be cured by removing the so-called Stone of Madness from the head, although the idea of ​​the Stone of Madness had no scientific basis, despite what many people believed. in him and it is easy for us to laugh at the misplaced faith of this gullible medieval patient; However, we cannot be honest and claim that our own times are completely free of alien beliefs;

It may be that future generations will laugh at current practices such as astrology or palm reading. We cannot say how our time will be considered, what we can recognize is that there is a timeless element in images of Hieronymus Hieronymus such as this one, the artist he reveals himself to be a man who is undoubtedly the product of his own contemporary era. world, but he is also outside that world, an artist who holds up a mirror to the follies of men, so we can see Hieronymus Bosch following an enduring literary tradition, a fool whose wisdom is ultimately the greatest of all. all.

In writing and art about human beings being all stupid, there was Sebastian Brand's Ship of Fools, which Bosch probably knew was translated into other languages. In fact, it was published in 1494 in Basel and he himself painted A Ship of Fools and there it is. We have the food in the rig and all the Buddhists are full of drunk men and women and Center Stage is actually a nun and a monk so he's actually attacking the church that way too and there was also a proverb in a proverbial . ship in the Netherlands because the blue board that was always populated by all the drunks Hieronymus Bosch's humor is often easily understood, but his widespread use of contemporary symbols is less easy for the modern viewer to appreciate;

We may never know what the artist's intentions were when he decided to place a funnel over the head of this fake surgeon, while the meaning of the book on the nun's head is also obscure. Bosch's regular use of arcane symbolism is a difficulty facing the modern student of his art, but it is not the only difficulty. Significantly, Bosch chose not to date his works, this means we can't be sure when he created images like Ship of Fools, another highly symbolic scene of human complacency and madness really, and no one is sure, so his works are generally divided into three somewhat loose periods starting in 1474 to avoid 1485 and then until 1510 and the last until his death in 1516 because the thing is that many of his

paintings

have been overpainted and there has also been quite a bit of damage, so it is quite difficult to even to detect, you know the technical forms of his painting, very often he uses very fine paint.

I guess that's one of the characteristics of his work and if we take it at a very simple level, you can probably say in response to the chronology is that he made a very simple representation of hell in the seven deadly sins on the table and he has become much more sophisticated in hell. He wings in the garden of delights, so one is considered to be prior to the other if written. the chronology proposed by Paulina and Paulus and any other expert and comparing them makes absolutely no sense, they are not really within reach of each other, it seems to be the grave of a series of slightly experimental things, it takes the initial work or whatever .

He assumed with the early works and compared it with what was happening in the Netherlands, what we knew about what was happening in the Netherlands in the work of other painters and you will find that there are parallels that are ways of constructing figures that are shapes of addressing

perspective

um, there are ways of distorting pictorial space that are common to a lot of not very good painters. The efforts of art historians have established how Hieronymus Bosch's paintings evolved throughout his working life, but some aspects of his art were with him from the beginning. These include the sharp humor and strong symbolism that we have already seen.

The follies of man would also be a recurring element of his work, as well as madness. Bosch also worried about the darker matter of sin and the terrible punishments that awaited him. The Sinner, the paintings produced from this concern for sin would revolutionize the art world forever. Nothing like it had been seen before and no artist has matched Hieronymus Bosch's unique vision of Hell and Damnation. The impact of these scenes remains as strong today as ever. We might call some of these horrors unimaginable if it were not for the fact that Hieronymus Hieronymus had imagined them.

These nightmarish visions are for many Hieronymus Bosch's greatest achievement, but with this visual representation of the seven deadly sins we see that humor prevails over the horror created early in his career. The seven deadly sins was painted in oil on a panel intended to be used as a board now in the Prado Museum in Madrid the work is dominated by a circle whose center represents the eye of God contemplating the image of his son Jesus Christ below are the words in Latin because be careful, be careful, God sees what which is unfortunate for the individuals represented in the seven main frames that make up the Outer Circle.

They are all involved in sin and each frame represents a different transgression in a series of contemporary genre scenes. The message of each frame is clear. Anger here is represented by an altercation between two men whose obvious disagreement may well have been fueled by a drink consumed in the back of the Tavern. Similarly, it doesn't take long to establish that these pleasure-loving individuals are guilty of the sin of gluttony, but this circle of Sin strikes the modern viewer as almost quaint, more playful than threatening. It may be that Bosch intended to evoke such a response from contemporary viewers.

Bush was a moralist and he was a moralist somewhat obsessed by the devil. For him, the devil was everywhere. As the sins were everywhere and this is in fact what he represented in his paintings, I mean in all forms, like the seven deadly sins, for example, which is an important scene in his work, these were the sins that They protect you to hell. No confession, I mean. Certainly for him that was the reality of things and he would certainly have believed that people were punished in hell as he showed it, in fact in one of his paintings it would be similar to the sins they would have committed during life.

Bosch was very much like a medieval preacher about these medieval preachers he would actually tell anecdotal stories, funny stories to keep the attention of the congregation and in that way I think he works at this in the same way and tells things possibly in a more humorous way, but everything has a moral purpose in the end, it is only outside the central circle that the seven deadly sins reveal the sense of menace that would characterize much of Hieronymus Hieronymus's most important work. In the corners there are four more circles that represent the so-called four last things of man, death, the last judgment.

Heaven and final hell destination of sinners, as expected, this is not a pleasant scene if sinners are forced toenduring punishments for the misdeeds of their lives while terrible fires burn in the background, although effective in the general context of the table, this small image only hints at the horrors to come in the work of Hieronymus Bosch here we see another later image of the fires of hell that again provide the background for the sufferings of the Damned. Looking at this scene we can begin to appreciate the kind of hellscape forever associated with Bosch, but we must also recognize that this is only one component of the complete work of art.

It forms the right panel of a series of three paintings. On the left is a scene of paradise. The large central panel gives the entire piece its name. The final judgement. Time and time again Bosch executed his work in this triple format popular at the time. The triptych is a kind of well-organized altar of peace throughout Europe, whoever finds it in Poland or in Portugal, the Netherlands, has the great advantage. to give him a central box that carries out the business in complete tranquility, two wings that will often allow him to paint the portrait of the donor or place the Petron sands of the donors or place the church of the patron saints and then, during Lent, the entrance to Easter.

You close the thing and on the back of the panels you will usually get an enlarged eye and a painting that is gray and the tone goes from black to white or dark red, white figures. Which in turn have some relevance either to the donors or for the church, but they have no color; in other words, something reflects the mood of Lent and appears to be the Great Glory of the center, the great glory of the center is not necessarily painted, it may be carved Tillman Riemann Schneider in germanev it may be a wonderful piece of colored water with wings, then Easter comes, you cover it with black cloth, you will spend or 24 hours celebrating darkness or without knees with all the windows darkened and then we will celebrate the Ascension of Christ resurrection of Christ by opening the doors, everything returned to normal, yes, and there was great theatrical excitement about it, think of it in terms of opening up the light with windows, inserting bells and singing, and you get church theatre. and that is why the triptych has the perfect shape while his trip titches are undoubtedly his best-known works from left to right Journey from Heaven to Hell can be seen in many of them in this series titled The Hay Wagon the central panel presents us again with a scene whose theme seems quite innocent at first, the procession of a hay cart seen as bright with blues and especially pinks prior to its use in the most famous Bosch of all the Garden of Earthly Delights, we can also see a pleasant undulating landscape that serves as the background for a scene of apparent frivolity, but it is an image loaded with visual symbols that would have been well understood in Hieronymus' time.

Dutch folklore viewed hay as a symbol of man's quest for wealth and the sinful follies this quest entailed. The owl would also have been recognized as a symbol of heresy, while the vars referred to female promiscuity, but modern audiences may also share the sense of impiety that Bosch sought to convey what is actually pulling the hay cart, Whatever they are, they are not creatures created by God and what is the fate of this highly symbolic procession. The right panel of the triptych reveals the terrible truth. It is a place whose existence today many may doubt but whose terrifying reality was fully accepted in the medieval times now we are in hell itself he concentrated on hell because his paintings are warning humanity not to take that path and this is how his paintings looked throughout the medieval period, it was impossible for the peasantry and the working classes to be slightly different and the middle classes existed without having a constant awareness of the imminence of death there were no doctors to speak of there were only rudimentary remedies for any type of illness and something as simple as measles or scarlet fever took you away there was hunger it was scurvy or teeth fell out the average age of people was at the time of death was much earlier than now it was common for people to get married at the age of 14 have children at the same time and die at 24 when they had a short life, not so simple, they died of coal, they died of hunger, they died of foreshortening, all kinds of deprivation, so if you look at medieval life and you live, you look at the history of famine in medieval times throughout Europe , you realize that death was always there, they will have anegoric things like the dancers of death is the early form of enlightenment that continues well into the Renaissance the constant warning that death awaits you no matter what you do when you are young o old man your man woman you are sleeping you are eating whatever you are doing death is always on your shoulder with a death that judges, which is hell, there is a purgatory and that has happened with a block hit, so it was a world of angels and demons all the time.

Images like these remind us that the medieval mentality conceived of a tangible physical hell of eternal physical suffering. Many modern Christians put less emphasis on the reality of hell and prefer to define it philosophically as the absence of God, but if we imagined a real hell we would surely evoke a scene similar to this one. It's not just the smoke, fire, and physical suffering that makes this a terrifying place: it's the place of unfathomable creatures whose existence is as real as that of the unfortunate humans depicted here. The grotesque creatures are one of Bosch's most surprising features. work, as we can see in the terrifying central panel of the journey of the final judgment, it is fully appreciated that it is the unknown that we fear most and no one on earth could have ever witnessed creatures like these terrible hybrids of man and Beast.

Even more disturbing is the fusion of the animate and the inanimate, as we can see with this surreal knife-wielding creature advancing purposefully in the bottom right of the panel, it is this sense of purpose that for many is the greatest artistic achievement of this horrific scene. This is a world where purpose and agency are certainly present. The monsters we see here have goals that do not seem out of place given the context that Bosch has created. This is a world with its own internal Order of Things, an order that does not. We can further understand that in reference to evident human suffering it is this totality of vision that makes the final judgment a disturbing image even for those who consider the idea of ​​hell absurd.

It is not surprising that many modern critics believe that Hieronymus Hieronymus must have been inspired by some type of hallucinogenic stimulant, in fact it was necessary for Hieronymus. because again, there were so many of these fantastic monsters and demons in the medieval world, so he was inspired by the margins of the manuscripts of, you know, in all the churches, in the sculptures and carvings of Missouri. In the courts and even in literature there was a lot of

mystical

literature that was full of monstrous creations and symbols, and people have looked at Bosch in different ways. I mean, some people, you know, claimed to use hallucinogenic drugs, other people said that his work has a kind of chemical meaning, an astrological meaning, etc., there may be illusions obviously to astrology in his works.

Was there perhaps a figure that is similar to an astrological tradition, but that is not what his work is about? His work is first religious, second, moral. and then obviously what makes him so great is the invention of the artist, when possibly because he didn't have that many formulas to follow he had to invent it, he had to be creative and this makes him one of the most interesting artists of his time that we can . It is never known for certain whether Hieronymus Bosch's artistic vision was stimulated by an altered state of consciousness, but we can be sure that the actual execution of his work was as meticulous as that of any other great painter in history.

The preserved drawings of him demonstrate that there was nothing loose or loose. The details of his paintings are random. This strange figure is known as the tree man, an incomprehensible being whose complete form we can see in the most famous of all of Hieronymus's works. This is another image of Hell that forms the right panel of another notable triptych, The Garden. of earthly delights Hieronymus Hieronymus was likely in his early 50s when he painted this extraordinary work of art that remains a defining image of the late Middle Ages. The central panel may be better known today, but the adjacent scenes of paradise and hell are no less so.

Impressive again, the three panels take us on a left-to-right journey from the paradise of creation to the fires of damnation through an outdoor scene of feverish activity. The Garden of Earthly Delights itself is a completely appropriate name in the center of the panel we see naked women bathing in an exotic garden pond surrounded by men riding a variety of animals behind them, we can see fantastic constructions next to the water in pink and blue, while the left middle ground is highlighted by a collection of disproportionately sized birds that require time to take in. In its entirety, the sheer amount of activity happening here, as with many of Hieronymus's works, is an image once again charged with symbolism.

Much of the hidden meaning may be lost to the modern viewer but it is not difficult to realize that the artist is once again dealing with the business of sin specifically the sin of lust some details of the panel show this more or less overtly in others places Hieronymus Bosch uses symbolism to make his message clear Bird fruits and other devices have been identified as symbols of physical sexuality The whole idea of ​​a Garden of Love is derived from a well-established folk tradition and this is a painting for which knowledge of contemporary folklore greatly increases our appreciation of the work, although the garden of delights is laden with symbolic meaning that may be obscure today, the ultimately somber message of the triptych can easily be understood the sinfulness of the panel central leads directly to the hell of the right panel here once again it is the sheer imaginative power of the artist that makes the horror effective looking closely at the details here it is difficult not to realize imagining some kind of hallucinogenic inspiration when your gaze travels The two square meters of this painting is a journey that requires many pauses to assimilate the scope of Bosch's imagination the horrible ears with their terrifying blade the harp transformed into a terrible instrument of torture the lantern that has become an oven horrifying details which in turn are detailed if we look at the figure of the bird at the bottom right we see that it is swallowing the Damned only to excrete them into a hole in the ground, although it is horrible, perhaps we can ourselves imagine such a hellish seed , but this is not all we see and many of the smaller details simply defy explanation.

Why does a human butt excrete coins into the hole? Why does the bird creature carry a cauldron on its head? Humanoid legs again shot out with wine jugs. Bosch may have had symbolic meanings in mind, but even if he did, it is not essential that we be aware of them; Instead, we can see these features as components of a contingent imaginary world whose diabolical threat stems from its literally unfathomable nature. The devil is in the details. The purpose of visual art is not to provide answers to the difficulties facing humanity and The Garden of The Delights make no attempt to do so other than perhaps to surprise the would-be sinner into a The Life of Christian Virtue Hieronymus Bosch's own faith is one of the few surviving facts about his life and much of his work.

Later career was religious in nature. It is tempting to see this body of work as a spiritual counterpart to the horrors of his life. Best known art we know that Bosch first used biblical themes in the early years of his career. This image of the Epiphany or Adoration of the Magi may date from 1475. Conversely, this second version of the same theme could have been created. Some 40 years later, in the last period of the artist's life, we see again the often obscure details that characterize Hieronymus Hieronymus's work, but it is a very different work from the famous landscapes of hell.

It is almost a relief to calmly consider visiting the Child. Jesus and I admire one of the most underappreciated aspects of Bosch's art, his mastery of the landscape, there seems to be a concerted attempt by a large number of Bosch scholars to make it something other than one of them, I think it is an important landscape painter. It is very difficult to believe that a new school of landscape education was developed from Hieronymus Hieronymus's paintings and very few people saw them, very few people realized that there was a landscape element worth contemplating. Many of his paintings are completely schematic.

Landscapes that do not have have some relevance to the history of landscape painting. They have some relevance in historyof invention, but not of observation. the opening time and Drew trees, you may have even painted trees that there are wonderful trees in late painting like the Internet, um, that didn't come out of your head, that didn't come out of observation, but in general, um, I. I don't think it's anything significant and imposing a pattern here as impossible without it seems silly to me, we can still appreciate Bosch's skills as a landscape painter in much of his religious work here we see Saint Christopher carrying the Baby Jesus against a wooded landscape that stretching into the hills, much of Bosch's later work depicts events from the lives of saints, often incorporating characteristic symbolism to express these events visually, as elsewhere much of this symbolism may not be immediately significant. to the modern viewer, but with this image of Saint John the Baptist in the desert the identity of this creature as the Lamb of God is clear.

Many of Hieronymus Hieronymus's religious paintings dealt with the theme of saints in the desert exposed to The Temptations of the Devil. Few artists could have been better qualified to Images assignments such as these gave Bosch the opportunity to demonstrate his skills as a landscape painter and his mastery of narrative. Much of this symbolism displayed may now be arcane and there is no doubt that the lives of the saints were better known in the 16th century than before. They are today, but we can still appreciate the idea of ​​the isolated Christian adrift in a bewildering world with only faith to sustain him.

One such individual was Saint Anthony, an early believer who spent most of his days in the deserts of Egypt living as a hermit according to his hagiography and his hardships included being beaten unconscious by demons in the tomb he used as a house of prayer He too was tempted by the devil in the form of a great Queen. It was apparent benevolence and goodness was eventually revealed to be Satan's deception. Narrative details can be seen in Hieronymus Hieronymus's triptych entitled The Temptation of Saint Anthony, but this latest work offers the viewer more than just the narrative: the theme of The Temptation of the Devil allowed the artist to give full expression to the fantastic, especially in the central panel where we see the saint next to the tomb surrounded by monstrous figures while the fires of hell burn once again in the background, as in previous works, the temptation of Saint Anthony rewards the viewer willing to explore the details incorporated into the scene: the wine jug turned into a pig-like creature. an especially memorable example, but the St.

Anthony triptych is perhaps best appreciated in its entirety; It is among the best preserved of all of Bosch's works and among the most technically accomplished of his career; The sense of temptation that the saint faces is expressed in the vividness of Hieronymus Bosch's work. colors The attraction of the devil must be dazzling, otherwise giving it up does not serve much purpose in artistic terms, we can also see here Hieronymus Bosch's mastery of layout and light, the tree that escaped to the right of the city Catching Fire is as disturbing in its quiet simplicity as other, more immediately horrifying details in simple terms.

The Temptation of Saint Anthony is a mature work by an artist who had now reached the peak of his powers. The Temptation of Saint Anthony may represent the greatest technical achievement. Hieronymus Hieronymus, but it remains primarily an expression of faith, one of The most notable details of any Hieronymus painting can be seen inside the tomb behind Saint Anthony. There is no doubt that this eternal image is Christ himself on the cross. The figure is so small that those who see the work for the first time do not notice it. not at all, but once we realize his presence, it comes to inform the entire work with the Christian message of salvation.

Christ would be the subject of most of the paintings that survive from the last years of Bosch's life, though, as we have seen in the previous ones of him. The work also includes scenes from the life of Jesus eke homo or behold the man takes us back to the theme of madness here we see the moment when Jesus is condemned by Pontius Pilate the Roman governor who is only fulfilling the wishes of the suffering mob of Christ is masterfully depicted, we can clearly see the consequences of his flagellation, but it is Christ's executioners who are perhaps the real issue here, they are totally wrapped up in their own earthly existence, we can imagine that for these individuals this is just a typical typical . day they have no idea of ​​the real meaning of their actions this is the moment in which Christ is most isolated surrounded by Madness with only a terrible death ahead of him it is not surprising that the images of Jesus painted by Hieronymus concentrate on these final moments of the savior's life the events of the passion Hieronymus painted the passion but the passion is the main theme of the questioned images, so there is nothing really surprising about it, I mean, they are scenes that were chosen and codified, There were devotions that were linked to the sufferings of Christ, no, again their interest in the passion is very traditional.

I think that with the passion the suffering of Christ at the hands of these human sinners could be shown to a much greater extent and is very much in line with a movement that is very popular in the 15th century. century called modern devotion and that movement taught meditation on the suffering of Christ, contemplation and also imitation, so the sacrifice of Christ by meditating on it and concentrating on it would show what Christ really did for the Redemption of the humanity surviving the works of Hieronymus tells the well-known story of the last hours of Jesus Christ until the moment of his death.

The best of them can be considered the artist's last masterpiece. Christ carrying the cross. Here you can see the madness of the crowd again, but there is a long way to go. greater sense of joy on the faces of these individuals who in the previous eche homo have fulfilled their wish now Jesus will soon die a terrible death they are savoring the moment the two criminals also condemned to die do not spare their malice one of them It seems that he still has left some spirited resistance, but the other is now completely broken and resigned to his fate, but it is Christ himself who represents Bosch's greatest achievement.

Here with his eyes closed, he is somehow apart from the chaos that surrounds him. For Christians, this is completely appropriate as the person of Jesus has both human and divine elements and Bosch somehow captures both in his depictions of the Christ figure. Christians also believe that Jesus triumphed over the madness of men by achieving his resurrection, but this is an image whose overall sense of pessimism cannot be denied. It is unfortunate that we have no record of the thoughts and beliefs of the artist who created it with Bosch. I think we have absolutely no idea how this could work.

We have no idea what kind of man he was. It may have been. almost anything he could have been and I suspect I mean if you have done it, if you force me to corner you and say what you think he was like, my inclination is to say that to paint what he did and not cause outrage, he must have been extremely devout in their practices. He must have been religious and not a bitter, twisted old man who was not liked by everyone. He must have been deeply respected, which suggests to me that he was serious about all of his endeavors and personality.

Whatever it is, it is not allowed to pass through Hieronymus Bosch, the man will probably remain a mystery forever, but his work was among the most recognizable in all of Western art at the time of his death in August 1516. , his achievements were undeniable and the following decades saw his His work became the best known of any artist from the Netherlands centuries later, his work proved an inspiration to the surrealists and much of his work remains as relevant today as always, but in artistic terms, the work of Hieronymus Bosch would most strongly influence the work of a painter born in the decade after his death, Peter Bregel the Elder, second of the Dutch masters, thank you.