Hieronymus Bosch, also known as Jheronimus van Aken, was a renowned Dutch painter from Brabant who lived from around 1450 to August 9, 1516. He was a prominent figure in the Early Netherlandish painting school and is well-known for his extraordinary depictions of religious themes and stories. Using oil on oak wood as his primary medium, Bosch created fantastical illustrations that often portrayed hell in a macabre and nightmarish manner.
Although not much is known about Bosch’s personal life, there are some existing records. He spent the majority of his life in the town of ‘s-Hertogenbosch, where he was born in his grandfather’s house. His ancestral roots can be traced back to Nijmegen and Aachen, which is evident in his surname “Van Aken.” Bosch’s unique and pessimistic artistic style had a profound influence on Northern European art during the 16th century, with Pieter Bruegel the Elder being his most well-known disciple. Today, Bosch is recognized as a highly individualistic painter who possessed a profound understanding of human desires and deepest fears.
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Determining the authorship of Bosch’s works has been challenging, and only about 25 paintings are confidently attributed to him, along with eight drawings. Approximately six more paintings are confidently associated with his workshop. Some of his most celebrated masterpieces include triptych altarpieces, notably “The Garden of Earthly Delights.”
Hieronymus Bosch, The Garden of Earthly Delights, 1490-1510 . Oil on oak panels, 205.5 cm × 384.9 cm (81 in × 152 in), Museo del Prado, Madrid.
The painting known as The Garden of Earthly Delights is a triptych created by the Dutch artist Hieronymus Bosch between 1490 and 1510. It is painted with oil on oak panels and is currently housed in the Museo del Prado in Madrid, Spain.
Due to the limited information available about Bosch’s life and intentions, there have been various interpretations of the painting’s meaning. Some view it as a cautionary depiction of worldly indulgence and the dangers of temptation, while others see it as an expression of ultimate sexual pleasure. The symbolism within the artwork, particularly in the central panel, has led to a wide range of scholarly interpretations throughout history. Modern art historians are divided on whether the central panel serves as a moral warning or represents a lost paradise.
Bosch created three large triptychs during his career, with The Garden of Earthly Delights being one of them. These triptychs were designed to be read from left to right, with each panel contributing to the overall meaning of the artwork. Typically, triptychs of that time portrayed subjects related to Eden and the Last Judgment on the left and right panels, while the center panel contained the main subject. Although it is uncertain whether The Garden of Earthly Delights was intended as an altarpiece, it is believed that its provocative subject matter in the inner panels makes it unlikely to have been commissioned for a church or monastery. Instead, it is thought to have been commissioned by a secular patron.
The exact dating of The Garden of Earthly Delights remains uncertain and has been the subject of scholarly debate. Early art historians, such as Ludwig von Baldass, considered it to be an early work by Bosch. However, since the influential study by De Tolnay in 1937, the general consensus shifted to dating the painting to 1503-1504 or later. These datings were primarily based on the “archaic” treatment of space in the artwork.
Dendrochronology, which analyzes the tree rings in the panels, provides a terminus post quem for the work, dating the oak used between 1460 and 1466. It is important to note that wood for panel paintings was typically stored for a significant period before being used, so the age of the oak may predate the actual painting by several years. Additionally, the presence of a pineapple, a fruit from the New World, suggests that the painting was created after Columbus’ voyages to the Americas between 1492 and 1504.
The first documented mention of The Garden of Earthly Delights was in 1517, a year after Bosch’s death, when Antonio de Beatis described it as part of the decoration in the palace of the Counts of the House of Nassau in Brussels. The prominence of the painting and its display in a high-profile location led to speculation that it was commissioned rather than solely an imaginative work. It is believed that Engelbrecht II of Nassau or his successor Henry III of Nassau-Breda, influential figures in the Burgundian Netherlands, may have been the patrons.
The painting’s visibility in the palace contributed to Bosch’s reputation, and numerous copies were commissioned by wealthy patrons after his death. These copies, in various mediums such as oil, engravings, and tapestries, often focused on the central panel and varied in quality. Despite the absence of a central religious image, the De Beatis description shed light on the commissioning of the work, which may have been intended for private use, such as for a wedding celebration.
Over the years, the painting changed hands and eventually ended up in the possession of Philip II of Spain. It was acquired at auction in 1591 and presented to El Escorial. After remaining there for more than three centuries, it was transferred to the Museo del Prado in 1939, along with other works by Bosch. Although the painting required restoration due to flaking paint, it has been well preserved and is currently displayed at the museum.
The Garden of Delights is a three-panel painting, and on the left panel, it portrays the creation of Eve, symbolizing the origin of human sin. In the central panel, a busy and intricate scene illustrates the dominance of lust over humanity. Conversely, the right panel depicts hell as a punishment for indulging in sinful desires. The painting consistently features strawberries, which serve as a symbol of this particular sin. It is speculated that the figure depicted beneath the bagpipe in the right panel may be a self-portrait of Hieronymus Bosch.
When the wings of the triptych are closed, the outer panels reveal their design. These panels are painted in a green-gray color scheme known as grisaille, which was a common practice for Netherlandish triptychs. The absence of vibrant colors may suggest a depiction of a time before the creation of the sun and moon, which were believed to bring light to the earth according to Christian theology. The subdued nature of the outer panels serves to enhance the colorful interior.
It is widely believed that the outer panels depict the creation of the world. The scene shows the Earth in its early stages, with greenery starting to cover the pristine land. A small figure of God, wearing a crown resembling a papal tiara, is seen at the upper left corner. Bosch portrays God as a passive creator, sitting with a Bible on his lap, bringing forth the Earth through divine command. Above God is a quote from Psalm 33, emphasizing the power of God’s words in creating and sustaining the world. The Earth is depicted within a transparent sphere, symbolizing the traditional belief that the world was held by God or Christ like a crystal sphere. The cosmos surrounding the Earth is depicted as an impenetrable darkness, with God being the sole inhabitant.
Although the Earth is covered in vegetation, it lacks human and animal life, indicating that the scene represents the events of the biblical Third Day. Bosch portrays the plant life in an unconventional manner, using shades of gray that make it difficult to distinguish between vegetation and mineral formations. The sea surrounds the interior of the globe and is partially illuminated by rays of light breaking through the clouds. The exterior wings of the triptych hold a distinct position in the narrative of the entire artwork. They depict an uninhabited earth consisting only of rocks and plants, creating a sharp contrast with the central panel, which showcases a paradise filled with lustful humanity.
The Garden of Earthly Delights’ interior.
Scholars have suggested that Hieronymus Bosch strategically used the outer panels of the triptych to establish a biblical context for the inner elements of the artwork. The exterior image is generally interpreted as depicting an earlier time period compared to the interior scenes. Similar to Bosch’s other complete triptychs, The Last Judgment and The Haywain, the central panel of The Garden of Earthly Delights is flanked by heavenly and hellish imagery. The triptych is believed to follow a chronological order, progressing from left to right, representing Eden, the garden of earthly delights, and Hell.
In the left wing, God is portrayed as the creator of humanity, while the right wing illustrates the consequences of humanity’s failure to follow God’s will. However, unlike Bosch’s other triptychs, the central panel of The Garden of Earthly Delights does not depict God. Instead, it shows humanity engaging in various pleasure-seeking activities, seemingly exercising free will. The right panel is often interpreted as portraying the punishments imposed by God in a hellish landscape.
Art historian Charles de Tolnay suggested that even in the left panel, through Adam’s seductive gaze, Bosch hints at God’s diminishing influence over the newly created earth. This idea is reinforced by the portrayal of God as a tiny figure compared to the vastness of the earth in the outer panels. According to Hans Belting, the three inner panels convey the notion from the Old Testament that, before the Fall, there was no clear distinction between good and evil, and humanity, in its innocence, was unaware of the consequences of its actions.
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The Garden of Earthly Delights’ left panel detail.
The left panel of the triptych, often referred to as the Joining of Adam and Eve, portrays a scene from the Garden of Eden where God presents Eve to Adam. Adam is shown waking up from a deep sleep, discovering God holding Eve by her wrist and bestowing his blessing upon their union. In this panel, God appears younger with blue eyes and golden curls. The artist may have depicted God in a youthful manner to symbolize Christ as the incarnation of the Word of God.
God’s right hand is raised in a gesture of blessing, while his left hand holds Eve’s wrist. According to Wilhelm Fraenger, a controversial interpreter of the artwork, the physical contact between the Creator and Eve signifies the eternal connection between humanity and God. The painting highlights the rapport between Adam and God, with Adam stretching to make contact with the Creator. The flowing cloak around God’s heart, cascading down to Adam’s feet, suggests the flow of divine power, forming a closed circuit of magical energy.
Eve averts her gaze from Adam, although Walter S. Gibson suggests that she seductively presents her body to him. Adam’s expression reflects surprise and amazement, which Fraenger attributes to three factors. Firstly, Adam is taken aback by the presence of God. Secondly, he realizes that Eve is of the same nature as himself, created from his own body. Lastly, the intensity of Adam’s gaze suggests his experience of sexual arousal and the primal instinct to reproduce for the first time.
The surrounding landscape of the painting is filled with hut-like structures, some made of stone and others appearing to have organic elements. Behind Eve, rabbits symbolizing fertility can be seen playing in the grass, while a dragon tree represents the concept of eternal life. The background features several animals that would have been unfamiliar to Europeans at the time, including a giraffe, a monkey riding an elephant, and a lion about to devour its prey. In the foreground, birds and winged creatures emerge from a large hole in the ground, some of them fantastical and others more realistic.
A person wearing a hooded jacket with short sleeves and a duck-like beak holds an open book, seemingly reading, next to a fish. On the left side, a cat grasps a lizard-like creature in its jaws. Art historian Erwin Panofsky notes that while the fantastical creatures in the foreground are imaginative creations, many of the animals in the middle and background are based on contemporary travel literature. Bosch incorporates these exotic animals to appeal to a knowledgeable and aristocratic audience.
The scene depicted in the painting deviates from traditional Western art representations of events from the Book of Genesis. Art historian Virginia Tuttle describes it as highly unconventional. Critics, including Tuttle, interpret Adam’s gaze towards Eve as lustful, suggesting a Christian belief that humanity was inherently doomed from the beginning. Walter S. Gibson suggests that Adam’s expression not only reflects surprise but also expectation, as the notion existed in the Middle Ages that before the Fall, Adam and Eve would have engaged in sexual intercourse solely for reproduction, without lust. The presence of a snake coiling around a tree trunk and a mouse nearby is seen by Wilhelm Fraenger as symbolic of universal phallic imagery.
The Garden of Earthly Delights’ central panel.
The central panel of the triptych shares a consistent skyline and positioning with the left wing, creating a spatial connection between the two scenes. It depicts an expansive “garden” landscape, which gives the artwork its name. Within this garden, there is a bustling mix of male and female nudes, along with various animals, plants, and fruits. The setting is not the paradise shown in the left panel, but it also transcends the earthly realm. Realistic and fantastical creatures coexist, and ordinary fruits appear disproportionately large. The figures in the scene engage in a wide range of amorous activities, both individually and in groups. They exhibit a carefree and uninhibited joy, some reveling in sensory pleasures, others playing in the water without reservation, and some frolicking in meadows with animals, seemingly at one with nature.
In the background, a large blue globe resembling a fruit pod emerges from a lake. Through a circular window on the globe, a man is depicted with his hand close to his partner’s genitals, while another figure’s bare buttocks are nearby. The eroticism of the central panel can be interpreted as either an allegory of spiritual transition or a playground of corruption. On the right-hand side of the foreground stand a group of four figures, three white- and one black-skinned. The white figures, covered in light-brown body hair from head to toe, are believed to represent wild or primal humanity, although the symbolism of their inclusion is debated among scholars. Some see them as symbolizing an alternative to civilized life, while others associate them with whoredom and lust.
In a cave to the lower right, a clothed male figure points towards a reclining female who is also covered in hair. This figure stands out with his dark hair and distinct facial features. His gaze conveys a compelling force, and his face is reminiscent of famous individuals like Machiavelli. The overall appearance suggests a Mediterranean influence and an air of frankness, intelligence, and superiority.
The figure of the pointing man in the painting has been subject to various interpretations. Some suggest he represents the patron of the work, while others propose he could be Adam denouncing Eve, Saint John the Baptist, or even a self-portrait of Hieronymus Bosch. Below him lies a woman enclosed within a transparent semicylindrical shield, her mouth sealed, implying she holds a secret. To their left, a crowned man rests on a gigantic strawberry, accompanied by a male and female figure contemplating another equally large strawberry.
The foreground lacks perspectival order and instead consists of a series of small motifs that defy proportion and logical earthly arrangements. Bosch presents a juxtaposition of oversized ducks playing with tiny humans amidst enlarged fruits, fish walking on land while birds reside in the water, a couple enclosed in a fluid-filled bubble, and a man inside a red fruit gazing at a mouse in a transparent cylinder. Pools in the foreground and background contain bathers of both sexes, with the central circular pool showing a segregation of genders and several females adorned with peacocks and fruit. Four women balance cherry-like fruits on their heads, potentially symbolizing pride.
Surrounding the women is a parade of naked men riding various animals, including horses, donkeys, unicorns, and camels. The men perform acrobatic acts to gain the attention of the females, emphasizing the attraction between the sexes. The outer springs also feature both men and women engaged in uninhibited activities. Birds infest the water, while winged fish crawl on land. Humans inhabit giant shells, and all creatures, both human and animal, indulge in strawberries and cherries. The absence of children and elderly individuals contributes to the impression of a life without consequences, a state of unspoiled existence before moral constraints.
In the distant background, above hybrid stone formations, four groups are seen in flight. On the left, a male figure rides a chthonic solar eagle-lion, holding a tree of life with a bird perched on it, symbolizing death. This figure represents the extinction of the duality of sexes, returning to a state of unity. To the right, a knight with a dolphin tail sails on a winged fish, his tail forming a loop resembling the symbol of eternity. On the immediate right, a winged youth ascends with a fish in his hands and a falcon on his back. These airborne figures serve as a connection between the celestial and terrestrial realms, just as the left and right panels represent the past and future.
The interpretations of these scenes, their enigmatic content, and Bosch’s imaginative visual syntax transcend conventional understanding, offering a new dimension of artistic freedom. The high background is referred to as “The Ascent to Heaven,” symbolizing a link between what is above and what is below, connecting the past and future represented by the other panels.
The Garden of Earthly Delights’ right panel detail.
The right panel of the triptych depicts Hell, a recurring theme in Bosch’s works. It portrays a world where humans have succumbed to temptations, leading them to evil and eternal damnation. This panel starkly contrasts with the preceding ones. Set at night, it lacks the natural beauty seen earlier. The atmosphere is chilling, conveyed through cold colors and frozen waterways. The scene transforms from the paradise of the center panel into a spectacle of harsh punishment and retribution.
In this densely detailed scene, various elements unfold. In the background, cities burn, war rages, torture chambers and infernal taverns are depicted, and demons abound. The foreground showcases mutated animals feeding on human flesh. The human figures, once depicted with eroticism, now attempt to cover their genitalia and breasts in shame, losing all allure.
Explosions illuminate the background, casting a fiery glow through city gates and reflecting in the water below, creating an effect akin to blood. A road is filled with fleeing figures, while tormentors prepare to set a neighboring village ablaze. A rabbit carries a bleeding and impaled corpse, and victims are thrown into a burning lantern. The foreground features distressed and tortured figures. Some are shown vomiting or excreting, while others are crucified on harps and lutes, symbolizing the contrast between pleasure and torment. A choir sings from a score inscribed on a pair of buttocks, forming the “Musicians’ Hell” group.
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Overall, the right panel portrays a nightmarish vision of Hell, where the consequences of human sins and moral failings are vividly depicted through scenes of chaos, suffering, and torment.
At the center of the panel is the prominent figure known as the “Tree-Man.” His cavernous torso is supported by contorted arms or decaying tree trunks, while his head carries a disk populated by demons and victims encircling a large set of bagpipes, which hold symbolic sexual connotations. The Tree-Man’s torso is formed from a cracked eggshell, and thorn-like branches pierce his fragile body. A hooded figure with an arrow wedged between his buttocks climbs a ladder into the central cavity of the Tree-Man, where nude men sit in a tavern-like setting. The Tree-Man’s gaze extends beyond the viewer, conveying a mix of wistfulness and resignation. Some speculate that the face of the Tree-Man may be a self-portrait of Bosch, reflecting the artist’s unique and bizarre artistic imagination.
The panel incorporates traditional iconography associated with depictions of Hell, but Bosch presents it in a more realistic manner, incorporating elements from everyday human life. Animals are shown inflicting nightmarish torments on humans, symbolizing the punishment corresponding to each of the seven deadly sins. The centerpiece of the panel is a gigantic bird-headed monster, often referred to as the “Prince of Hell,” feasting on human corpses and excreting them into a transparent chamber pot on which he sits. A female’s face is reflected on the buttocks of a demon nearby. Other scenes depict brutal violence, including a group of naked individuals being massacred around a gambling table and a knight being torn apart by wolves.
During the Middle Ages, sexuality and lust were considered evidence of humanity’s fall from grace. Some interpret the left panel as depicting Adam’s allegedly lustful gaze towards Eve, while the center panel serves as a warning against a life of sinful pleasure. The right panel is seen as portraying the consequences and penalties for such sins. In the lower right corner, a man is tempted by a pig wearing a nun’s veil, symbolizing seduction and the signing of legal documents. Lust is further symbolized by the presence of gigantic musical instruments and choral singers in the foreground, as music was associated with the pleasures of the flesh. Some suggest that Bosch’s use of music in this context may serve as a critique of traveling minstrels, often associated with bawdy songs and verses.
The Garden of Earthly Delights’ right panel detail.
The painting features numerous characters with a distinct emphasis on physical attributes. The design highlights expressive facial features, exaggerated postures, and movements, giving the figures an expressionist quality. The depiction of nude bodies focuses on synthetic musculature, with no prominent muscle masses. The use of chiaroscuro is minimal, with the figures standing out against light backgrounds.
The proportions of the bodies deviate from the classical Renaissance standards, and the pursuit of ideal beauty is absent. The abundance of figures in the scene serves not only the subject matter but also reflects the artist’s inclination towards horror vacui, a fear of empty spaces. This artistic tendency, commonly found in northern European painting, involves filling every inch of the artwork with figures or intricate details. Hieronymus Bosch’s other works, such as The Ship of Fools and The Hay Wagon, also demonstrate this symbolic and densely populated style.
The Garden of Earthly Delights’ central panel detail.
The central and side panels predominantly feature light green meadows, creating a serene backdrop. In contrast, the right panel exhibits a shift in tones, gradually becoming darker as it ascends. It begins with an ochre and yellow-orange ground and progresses to a dark gray frozen water surface. Finally, the dark landscape is illuminated by vibrant orange and red hues on the horizon.
The human figures in the foreground have a pale complexion, while the male figures become darker as they move towards the background, contrasting with the lighter-skinned female figures. This curious detail echoes techniques used in Egyptian painting. The birds and hybrid creatures depicted in the artwork are adorned with vivid colors, mostly derived from the realm of fish. The organic and fantastical structures near the fountain of eternal youth are painted in vibrant light pinks and blues, creating a striking contrast. The distant landscape and mountains are depicted in a faded blue that gradually dissolves into mist, adding a sense of depth and atmosphere.
The Garden of Earthly Delights’ central panel detail.
Interpreting Bosch’s work can be challenging for scholars due to the limited information available about his life, leading to a reliance on speculation. While individual symbols and motifs can be explained, connecting them to each other and to the overall meaning of his work has proven elusive. The inner triptych of The Garden of Earthly Delights, with its enigmatic scenes, has been the subject of contradictory interpretations by numerous scholars. Various symbolic systems, including alchemical, astrological, heretical, folkloric, and subconscious, have been used to analyze the complex elements and ideas presented in the painting.
In the past, Bosch’s paintings were often associated with didactic literature and sermons from the Medieval period. The prevailing view was that he depicted fantastic devilry and infernal scenes, representing a warning against lust and emphasizing the transience of worldly pleasure. The central panel was seen as illustrating the consequences of sensual pleasure and its fleeting nature. This narrative interpretation suggests a sequence of innocence in Eden, followed by its corruption, and ultimately the punishment in Hell. The triptych has been known by various titles throughout its history, reflecting its themes of lust, sin, and their consequences.
Supporters of this interpretation point out that during Bosch’s time, moralists believed that women, particularly Eve, were responsible for leading men into a life of sin and lechery. This perspective explains the active role of women in the center panel, as they contribute to the Fall of humanity. Depicting females surrounded by males was a common visual representation of the power of femininity during that era. This interpretation aligns with the themes present in Bosch’s other moralizing works, such as Death and the Miser and the Haywain, which criticize human folly.
However, some argue that Bosch’s intention was not solely to condemn sin, as his visually enchanting forms and colors seem to contradict such a purpose. Instead, it is proposed that he may have aimed to convey a false paradise, highlighting the transient nature of beauty. Wilhelm Fränger presented a different interpretation in 1947, suggesting that the center panel of the triptych represents a joyful world where humanity experiences a rebirth of the innocence enjoyed by Adam and Eve before their fall. Fränger associated Bosch with the heretical Adamites, who sought a spiritual state free from sin even in the physical realm and viewed lust with paradisical innocence.
In summary, the diverse interpretations of Bosch’s work reflect the complexity and ambiguity of his artistic vision, and despite efforts to unravel its meanings, a definitive understanding remains elusive.
Fränger proposed that The Garden of Earthly Delights was commissioned by the Grand Master of the Homines intelligentia cult. According to him, the figures depicted in Bosch’s work engaged in innocent and joyful expressions of sexuality, reminiscent of Adam and Eve before their fall. Fränger disagreed with the interpretation that the hellscape in the painting represented retribution for sins committed in the center panel. Instead, he viewed the figures in the garden as peaceful, naive, and in harmony with nature, while those being punished in Hell were seen as musicians, gamblers, and offenders of judgment.
Fränger’s analysis focused on three of Bosch’s altarpieces: The Garden of Earthly Delights, The Temptation of Saint Anthony, and the Haywain Triptych. He argued that despite their anti-clerical elements, these works were still altarpieces commissioned for devotional purposes within a mystery cult. While Fränger’s interpretation has been considered insightful and broad in scope, some scholars question the validity of his final conclusions. They argue that artists of the time painted primarily for commissioned purposes, and projecting a post-Renaissance secularized mindset onto Bosch, a late-Medieval painter, may not be appropriate.
Fränger’s thesis prompted further examination of The Garden of Earthly Delights. Carl Linfert acknowledged the joyfulness depicted in the center panel but disagreed with Fränger’s assertion that the painting advocated the guiltless sexuality of the Adamite sect. Linfert noted that while the figures engaged in amorous acts without guilt, there are elements suggesting death and transience within the panel. Some figures turn away from the activities, indicating a loss of hope in finding pleasure in the passionate frolicking of others. In 1969, E.H. Gombrich suggested that the central panel reflects the state of mankind before the Flood, when people pursued pleasure without considering the consequences, unaware of their sins.
In summary, Fränger’s interpretations sparked further analysis and discussion of The Garden of Earthly Delights, but his conclusions remain conjectural. Scholars have offered alternative perspectives on the painting, emphasizing themes of pleasure, transience, and the human condition, while questioning the applicability of a post-Renaissance mindset to Bosch’s Medieval artistry.
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This post was last modified on 14/10/2023 11:07
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