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The Garden of Earthly Delights Triptych
El Bosco
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El Bosco

S'Hertogenbosch (Holanda), 1450 - S'Hertogenbosch (Holanda), 1516

The Garden of Earthly Delights Triptych

1490 - 1500. Grisaille, Oil on oak panel

The Garden of Earthly Delights is Bosch’s most complex and enigmatic creation. For Falkenburg the overall theme of The Garden of Earthly Delights is the fate of humanity, as in The Haywain (P02052), although Bosch visualizes this concept very differently and in a much more explicit manner in the centre panel of that triptych than in The Garden of Earthly Delights. In order to analyse the work’s meaning the content of each panel must be identified. On the outer faces of the triptych Bosch depicted in grisaille the Third Day of the Creation of the World, when the waters were separated from the earth and the earthly Paradise (Eden) created. At the top left we see God the Father as the Creator, according to two Latin inscriptions, one on each panel: For he spake, and it was done and For he commanded, and they were created (Psalms 33:9 and 148:5). On the inner face of the triptych, painted in brilliant colours which contrast with the grisaille, Bosch painted three scenes that share the single common denominator of the concept of sin, which starts in Paradise or Eden on the left panel, with Adam and Eve, and is punished in Hell in the right panel. The centre panel depicts a Paradise that deceives the senses, a false Paradise given over to the sin of lust. This deception is encouraged by the fact that the centre panel is shown as a continuation of Eden through the use of a single, continuous landscape with a high horizon line that allows for a broad, panoramic composition arranged as three superimposed planes, in the panels of the earthly Paradise, the Garden of Earthly Delights and Hell.

While sin is the connecting link between the three scenes, the iconography in the Paradise panel requires further analysis in order fully to appreciate its meaning. As will be noted below in the analysis of the technical documentation, when he initially embarked on the work Bosch included the Creation of Eve on the left panel, but in a second phase he replaced it with God presenting Eve to Adam. This very uncommon subject was associated with the institution of marriage, as Falkenburg and Vandenbroeck discuss (Bosch, 2016). For the latter, the centre panel represents the false paradise of love, known as Grail in the fifteenth and sixteenth centuries, which implied a carnal interpretation of God’s mandate to Be fruitful and multiply, as instituted in marriage. The men and women that Bosch depicts in the Garden of Earthly Delights believe they are inhabiting a paradise for lovers, but this is false and their only fate is punishment in Hell. The extremely pessimistic message that the centre panel conveys is that of the fragility and ephemeral nature of happiness and delight in these sinful pleasures.

In the centre panel, from which the triptych derives its name, Bosch included a large number of naked human figures, with the exception of the pair at the lower right, who are usually identified as Adam and Eve after the Expulsion from Paradise. Men and women, both black and white, are generally seen in groups or pairs, maintaining amorous relations (some of a forbidden nature) with a powerful erotic charge that refers to the panel’s pre-eminent theme, the sin of lust. The animals, both real and imaginary, are much larger than their proper scale. Among them, Bosch particularly emphasizes two different types of owl that evoke evil. Staring straight out, they direct their disturbing gazes at the viewer at the two lateral edges of the panel, slightly set back from the immediate foreground. Also present are plants and fruit, which are again much larger than their scale dimensions. The entire composition is dotted with pieces of red fruit that contrast with other large and small blue ones, these being the two principal colours in the scene. In contrast to the apparent confusion that prevails in the foreground, geometry imposes itself in the middle ground and background. In the former, Bosch depicted a pool full of naked women. Around it, in an anti-clockwise direction, rides a group of men on different mounts (some of them exotic or imaginary), who have been associated with different Cardinal Sins. In the background of the scene Bosch included five fantastical architectural constructions in the water, the central one similar to the fountain of the Four Rivers in the Paradise panel, although here broken to symbolize its fragility and the ephemeral nature of the delights being enjoyed by the men and women who fill this garden. And now the owl depicted inside the fountain in the Paradise panel is replaced here by human figures in sexually explicit poses.

The right panel depicts Hell and is Bosch’s most striking representation of this subject, on occasions referred to as the musical Hell owing to the significant presence of instruments used to torture sinners who have devoted their time to secular music. In his text in the present catalogue Larry Silver describes the punishments meted out to each sin. While lust prevails in the centre panel, in the scene of Hell all the Cardinal Sins are punished. A good example is the punishment of the avaricious, who are devoured and immediately expelled from the anus of a theriomorphic creature with a bird’s head (a variety of owl) seated on a type of child’s lavatory stool. Gluttons and the sin of gluttony are undoubtedly referred to in the tavern scene located inside the tree-man, in which semi-naked people seated at a table wait to be served toads and other unpleasant creatures by devils, while the envious are tortured by immersion in frozen water. Further punishments correspond to vices censured by society at the time, including board games, while particular social classes are also singled out, including the clergy, who were notably criticized at this period, as reflected in the pig wearing a nun’s veil embracing a naked man in the lower right corner.

Although the triptych in the Museo del Prado is not signed, its attribution to Bosch has never been doubted. Its dating, however, is the subject of considerable debate. The results of the dendrochronological analyses could allow it to be located within the early years of the artist’s activity, around 1480-85, as Vermet stated without any supporting evidence. However, the work’s stylistic proximity to the Adoration of the Magi Triptych in the Prado (P02048), which can be securely dated to 1494 following Duquenne’s identification in 2004 of the donors, Peeter Scheyfve and Agneese de Gramme from Antwerp, confirms that the present work must have been painted in the 1490s and not after 1505, as most authors preferred to believe prior to Duquenne’s discovery. It has recently been argued that it must have been painted in or after 1494 as the image of God the Father creating the world on the reverse of the triptych is inspired by a print by Michel Wolgemut of the same subject -including the same text from the Psalms as appears on the wings- which appeared in Hartman Schedelsche Weltchronik published in Nuremberg in 1493.

Research undertaken in 1967 by Gombrich and Steppe allowed The Garden of Earthly Delights to be associated with the Nassau family. An account by Antonio de Beatis, who accompanied Cardinal Luis de Aragon as his secretary on his trip to the Low Countries, states that on 30 July 1517 the triptych was in the Nassau palace of Coudenberg in Brussels, where De Beatis presumably saw it. Since in the late 1960s the painting was considered to be a late work by Bosch, executed after the death of Engelbert’s II of Nassau in 1504, it was therefore thought that the patron was Henry III of Nassau (1483-1538), Engelbert nephew and heir. In the present day and in the light of the information that locates the triptych in the 1490s, it can be confirmed that it was commissioned from Bosch by Engelbert, who must have intended it for the Coudenberg Palace (Text drawn from Silva, P.: Bosch. The 5th Centenary Exhibition, Museo Nacional del Prado, 2016, pp. 330-346).

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La Creación
Oil on panel, s XV - XVI century
Inventory number
P02823
Author
El Bosco
Title
The Garden of Earthly Delights Triptych
Date
1490 - 1500
Technique
Grisaille; Oil
Support
Oak panel
Dimension
Height including frame: 205.6 cm.; Width including frame: 386 cm.
Provenance
Engelbert II of Nassau, 1490/1500-04; Henry III of Nassau, 1504-38; René de Châlon, 1538-44; William I of Orange, 1544-67; expropriated in Brussels by Fernando Alvárez de Toledo, Duke of Alba, 28 May 1568; Fernando de Toledo, illegitimate son of the Duke of Alba, 1568-91; purchased at his posthumous sale by Philip II, 1591; sixth batch of works sent by Philip II to the Monastery of San Lorenzo de El Escorial, 8 July 1593; moved to the Museo del Prado in 1933 from the monastery of El Escorial; on permanent loan from Patrimonio Nacional since 1943.

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Luna,J.J., Guerra y pintura en las colecciones del Museo del Prado. s.XVI a Goya, Arte en tiempos de guerra Jornadas de Arte (14º.2008.Madrid), 2009.

Belting, Hans, Hieronymus Bosch (El Bosco) el jardín de las delicias, Abada, 2009.

Gómez Cano, J.; Orellana Escudero, G.; Varela Simó, J., Las aves en el Museo del Prado, SEO/BirdLife, 2010, pp. 87/88-89,90-92,220.

El nacimiento de una pintura : de lo visile a lo invisible, Consorci de Museus de la Comunita, 2010, pp. 14-29.

Falkenburg, Reindert L., The land of unlikeness: Hieronymus Bosch, ''The Garden of Earthly Delights'', W Books, 2011.

Silver, Larry, Pieter Bruegel, Abbeville Press Publishers, 2011, pp. 243.

Cuttler, C. D, Hieronymus Bosch: late work, The Pindar Press, Londres, 2012, pp. 102-168.

Vermet, B., On the genealogy of a composition: tracing the roots of 'Christ Driving the Trades from Temple'. En: 'On the trail of Bosch and Bruegel. Four paintings united under Cross-examination', Archetype Publications, London, 2012, pp. 11-20, n. 3.

Wadum, J.; Scharff, M., Tracing the individual 'handwriting' of four 16th-century artists through their underdrawings. En: 'On the trail of Bosch and Bruegel. Four paintings united under Cross-examination', Archetype Publications, London, 2012, pp. 59-81, n. 11a y 11b.

Scillia, D., Hunter Rabbits / Hares in fifteenth- an sixteenth-century northern european art: parody and carnival? En: Smith, D. R. 'Parody and festivity in early modern art. Essays on comedy as social vision', Ashgate, London, 2012, pp. 39-49.

Falkenburg R.L, Régions de Dissemblance. En:, Fables du paysage flamand. Bosch , Bles , Brueghel , Bril, Somogy E.d´art;Palais B-A Lille., 2012, pp. 50-63.

García-Frías Checa, Carmen, 'De la grandeza y variedad de la pintura que hay en esta casa' La colección pictórica de Felipe II en El Monasterio de El Escorialo, De El Bosco a Tiziano: arte y maravilla en El Escorial, Patrimonio Nacional, Madrid, 2013, pp. 35-51 [37, 41 f.28].

Saénz de Miera, Jesús, 'Desengañar al vulgo y más que vulgo' y escribir para 'gente que repara poco en lo que mira' Felipe de Guevara, Fray José de Sigüenza y los Boscos de El Escorial, De El Bosco a Tiziano: arte y maravilla en El Escorial, Patrimonio Nacional, Madrid, 2013, pp. 53-63 [56, 58, f.28].

Sullivan, Margaret A., The timely art of Hieronymus Bosch. The left panel of the Garden of Earthly Deligths, Oud Holland, 2014, pp. 165-194.

De Bruyn, Eric, 'Jheronimus Bosch: his patrons and his public. What we know and would like to know' En:, Jheronimus Bosch, his patrons and his public . International Jheronimus Bosch Conference (3trd) 16-18 september 2012. 's-Hertogenbosch, 2014, pp. 14-17 [23-24].

Benge, Glenn F, 'On the closed wings of the Garden of Earthly Delights triptych. New discoveries and the role of memoria' En:, Jheronimus Bosch, his patrons and his public . International Jheronimus Bosch Conference (3trd) 16-18 september 2012. 's-Hertogenbosch, 2014, pp. 46-67.

Falkenburg Reindert, L, 'The Garden of Earthly Delights- viewership, patrons, public' En:, Jheronimus Bosch, his patrons and his public . International Jheronimus Bosch Conference (3trd) 16-18 september 2012. 's-Hertogenbosch, 2014, pp. 118-131.

Pérez de Tudela, Almudena, 'Acceptance of Bosch's works by courtiers during the reing of Philip II: new examples' En:, Jheronimus Bosch, his patrons and his public . International Jheronimus Bosch Conference (3trd) 16-18 september 2012. 's-Hertogenbosch, 2014, pp. 190-205 [193,196].

Peyer, Toos de, 'Grillen and Grylli :The diableries of Jheronimus Bosch' En:, Jheronimus Bosch, his patrons and his public . International Jheronimus Bosch Conference (3trd) 16-18 september 2012. 's-Hertogenbosch, 2014, pp. 210-228.

Pinson, Yona, 'Images of war and violence as Moral lesson in the work of Jheronimus Bosch' En:, Jheronimus Bosch, his patrons and his public . International Jheronimus Bosch Conference (3trd) 16-18 september 2012. 's-Hertogenbosch, 2014, pp. 230-250 [239,241].

Pokorny, Erwin, 'Lodewijk van Gruuthuse, alias Louis de Bruges. A potential patron of Bosch' En:, Jheronimus Bosch, his patrons and his public . International Jheronimus Bosch Conference (3trd) 16-18 september 2012. 's-Hertogenbosch, 2014, pp. 254-261 [255, 259, 261].

Wamel. Marieke van, 'Aficionados y compradores. The sixteeth-century Spanish collectors of paintings by Jheronimus Bosch in the Netherlands' En:, Jheronimus Bosch, his patrons and his public . International Jheronimus Bosch Conference (3trd) 16-18 september 2012. 's-Hertogenbosch, 2014, pp. 320-333 [324].

Withee, Diana K., 'Some additions to Bosch's circle of noble patrons' En:, Jheronimus Bosch, his patrons and his public . International Jheronimus Bosch Conference (3trd) 16-18 september 2012. 's-Hertogenbosch, 2014, pp. 334-363 [350, 353].

Spronk, R., 'Jheronimus Bosch and the van Aken family workshop: towards a reassesment of technique' En:, Jheronimus Bosch, his patrons and his public . International Jheronimus Bosch Conference (3trd) 16-18 september 2012. 's-Hertogenbosch, 2014, pp. 388-399 [391].

Sterckx, Pierre., Jérôme Bosch, ou, La Fourmilière éventrée, Lettre vole, 2014.

Falkenburg, Reindert L., Bosch : Le Jardin des Délices, Hazan, 2015.

Büttner, N, 'Paintings as historical evidence of artistic emotions' En: Facts and feelings : retracing emotions of artists, 1600 - 1800, Brepols Publishers, 2015, pp. 173-186 [173-178 f.1].

Santos Bueso, Enrique., Oftalmología en el Museo del Prado, Gertograf, 2015, pp. 54.

El Bosco en El Escorial : [V Centenario]., Patrimonio Nacional,, Madrid, 2016, pp. 17-19, or.24-25.

Bosch Research and Conservation Project, Jérôme Bosch. Peintre et dessinateur. Catalogue raisonné, Actes sud,, 2016, pp. 356-379 n.21.

BRCP, Hieronymus Bosch. Painter and draughtsman, technical studies., Mercatorfonds ; Yale University Press,, 2016, pp. n.21 314-315,455.

Silva, Pilar, 'El Bosco. Tríptico del Jardín de las delicias' En:, El Bosco. La exposición del V Centenario, Museo Nacional del Prado, Madrid, 2016, pp. n.46 330-346.

Falkenburg, Reindert, 'Conversando con el Jardín de las delicias' En:, El Bosco. La exposición del V Centenario, Museo Nacional del Prado, Madrid, 2016, pp. 135-155.

Bruyn, Eric de, 'Textos e imágenes: Las fuentes del arte del Bosco.' En:, El Bosco : la exposición del V Centenario, Museo Nacional del Prado, Madrid, 2016, pp. 73-89 [73, 76 78, 81-83, 87-88, il.11.6 11.7,11.9].

Mateo, Isabel, Consideraciones iconográficas sobre el..., Traza y baza, pp. 9.

Osten, Gert von der, Painting and sculpture in Germany and the Netherlands: 1500, Penguin Books.

Parrot, L., La Flamme et la Cendre. Jerome Bosch. Separata, Editions Holbein, Basilea, pp. 143.

Location +

Room B (Temporary Exhibition)

Exposición Temporal
Update date: 23-07-2016 | Registry created on 28-04-2015

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