Since the Noordbrabants Museum exhibition opened on February 13th 2016, there has been an explosion of articles about Hieronymus Bosch. To list them all here would not serve much purpose, but I select those that have something new to offer in this category. A recent article from the BBC by Alastair Sooke on February 19th 2016 I found worth passing on here:
A new exhibition celebrates the work of Hieronymus Bosch, the painter known for his terrifying images of demons and monsters – but has he been misunderstood? Alastair Sooke looks back.
To celebrate the 500th anniversary of the death of the painter Hieronymus Bosch, the Noordbrabants Museum in his native city of Den Bosch in the Netherlands has organised an extensive exhibition of his work.
It is a spectacular show, featuring 17 of his 24 surviving paintings, as well as six more pictures produced within his workshop. In addition, the exhibition, which has taken nine years to come to fruition, contains 19 of Bosch’s 20 extant drawings.
One thing the brilliant Noordbrabants Museum exhibition does not examine, however, is Bosch’s influence upon subsequent Western art and culture. In his own day, Bosch, who married into wealth, was a successful and popular artist who moved within the upper echelons of society. He counted noblemen such as Philip the Fair, Duke of Burgundy, among his patrons, and inspired countless imitators during the 16th Century. Surprisingly, though, given his fame today, his idiosyncratic imagery fell out of favour in the decades following his death. Gradually Bosch’s art started to look old-fashioned. The only European country where he was not forgotten was Spain. In 1593, King Philip II transferred The Garden of Earthly Delights to the monastery, mausoleum and palace he had founded at San Lorenzo de El Escorial.
On the website of Open Culture
I was delighted to find this entry from February 8, 2016
Take a Virtual Tour of Hieronymus Bosch’s Bewildering Masterpiece The Garden of Earthly Delights
because it complements perfectly the category of
of this blog and adds additional insights into the extensive research already presented here.
Art historians have argued about the meaning of The Garden of Earthly Delights--Hieronymus Bosch’s enormously sized, lavishly detailed, and compellingly grotesque late 14th- or early 15th-century triptych—more or less since the painter’s death. What does it really say about the appearance and fall of man on Earth that it seems to depict? How seriously or ironically does it say it? Does it offer us a warning against temptation, or a celebration of temptation? Does it take a religious or anti-religious stance? And what’s with all those creepy animals and bizarre pseudo-sex acts? “In spite of all the ingenious, erudite and in part extremely useful research devoted to the task,” said scholar Erwin Panofsky, “I cannot help feeling that the real secret of his magnificent nightmares and daydreams has still to be disclosed.”
....... read MORE
The Open Culture article also links to an incredible
“interactive documentary” of The Garden of Early Delights
the various parts of the painting are explained when you click the description icons as you zoom into the details.
Of course this here blog entry is the short version, and you should really visit the original source for more insights.
Below, find this excellent trailer from Pieter van Huystee Film on Vimeo:
Check out the category
for additional blogs and more excellent research on the subject.
ENGLISH TRANSLATION OF THIS ARTICLE:
The Phantasten Community mourns one of its greats. The Viennese painter and graphic artist Wolfgang Hutter (13 December 1928) passed away on September 26, 2014. Hutter was a founding member of the Art Club and one of the main representatives of the famous Vienna School of Fantastic Realism. His magical canvasses are worked out to the smallest detail and reveal his sensitive handwriting. Hutter's art encompasses also tapestries and mosaics such as the mosaic floor in the Theater an der Wien. For three decades, Wolfgang Hutter worked as a professor at the Vienna University of Applied Arts. In 1977 he received the Prize of the City of Vienna for Visual Arts, 2011 and he was honored with the Golden Medal for Service to the City of Vienna. Let's hope that the death of Wolfgang Hutter is no longer ignored in the public media. Such a large and internationally important Austrian artist and his family should in any case be granted the final tribute in the form of an honoring obituary. Many thanks to Gerhard Habarta without whom the sad news of the death of Wolfgang Hutter and this little obituary would not exist.
The Vienna School of Fantastic Realism
the discussions that followed after I posted this on my personal page were interesting - unfortunately, the embed above does not show these comments.
This is the link to the post - it should have all the comments on it:
'The time has come,' the walrus said, 'to talk of many things:
of shoes and ships - and sealing wax - of cabbages and kings.'
The times of manning the barricades have long since past for me. I no longer hold my breath waiting for change. Hoping, against all hope, perhaps, but I have no illusion that pissing against the wind will change the course of the Titanic.
From time to time, articles such as "Successor states to an empire in free fall" appear that would promise a glimmer of hope:
"I believe that something different really is happening in today's cultural jungle. Something is stirring that hasn't been seen for 30 years. New theories are emerging with strange and wonderful names that aim to describe in detail a culture and society they say are found on the far side of postmodernism." - Alan Kirby -but alas, the triumphant proclamation:
Postmodernism is dead. Wail and rend your clothes. Postmodernism is dead. The tyrant is vanquished!
was probably a little premature. Like I said, don't hold your breath! From time to time, I might indulge in the occasional rant, such as in my post About "Modern Art" and its excesses or I may also pass on some observations such as I'm sick of pretending: I don't get Art - but.... refer to my Titanic quote above.
However, I cannot help throwing the occasional firecracker, little barbs that I am well aware of won't change the course of history one iota, but doing so is catharsis - it makes me feel better (hopefully, it makes you feel better also, that's the whole point). Jeff Koons could probably care less about what I write, nor would he even know who the hell I am or why he should even care. But I do want to say right here that I find him to be a very engaging and likable individual, and I enjoyed the way he talked about his art.
Lets get to the point, after all this preliminary banter:
LAOKOON, ANTI-LAOKOON and ANTI-KOONS
Nothing on the conceptual art scene today really surprises me: during my student days (77-82) I was involved with our student newspaper. I wrote critiques, also for our local newspaper and a few times for a national art magazine. Hence my signature "Self-portrait with the Critical Eye" from that period where I tried, tongue in cheek, to show the conflict between being an artist and a critic at the same time.
When I say nothing surprises me: I contributed on several occasions conceptual ideas to our spin-off paper that came out irregularly during carnival and at April Fools Day. It was called "The McLiarist". A few of these conceptual head-slappers I now recognize in contemporary con-art - could it be that somehow they read yellowed copies of this rather obscure (fake) student paper from way back when? Or was I simply clairvoyant?
So now, in the same spirit I hereby conceptualize the following (no need to actually make the object): As in the sixties the Vienna School had reacted to Lessing's Laokoon and particularly Ernst Fuchs had created his monumental work "The Anti-Laokoon" (from his period 1960 to 1970); the first artwork that Jeff Koons sold to a collector (for $ 3.000.-) was a basketball in a fish tank.
I therefore propose the
being imaginary basketballs turned inside-out and filling the space of an otherwise empty gallery.
But unlike the space above, which is derived (or better said: "derivative") of Brian O'Doherty's "Inside the White Cube", this gallery space is not empty, but filled to the brim with imaginary inverted basket balls.
Now if I could just get an interested collector to buy this for hmmmm,
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