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The Garden of Earthly Delights Triptych
Grisaille, Oil on oak panel. 1490 - 1500
Bosch, Hieronymus
The Garden of Earthly Delights Triptych
Grisaille, Oil on oak panel. 1490 - 1500
Bosch, Hieronymus

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 me

The Extraction of the Stone of Madness
Oil on oak panel. 1501 - 1505
Bosch, Hieronymus
The Extraction of the Stone of Madness
Oil on oak panel. 1501 - 1505
Bosch, Hieronymus

In the centre of a rectangular surface Bosch incised a circle in which he depicted this scene of Extracting the stone of madness. The resulting image is a mirror that offers a reflection of folly and human madness, located in a rural world remote from that of the nobility and urban life, hence the setting in the countryside in an open landscape. As found in miniature painting of the time, the arti

Table of the Seven Deadly Sins
Oil on poplar panel. 1505 - 1510
Bosch, Hieronymus
Table of the Seven Deadly Sins
Oil on poplar panel. 1505 - 1510
Bosch, Hieronymus

Two banderoles, one above and the other below the central circle, contain Latin texts from Deuteronomy (32: 28-29 and 20), warning against the wages of sin. The upper banderole, between the tondos of Death and the Last Judgment, reads: Gens absq[ue] [con]silio e[st] et sine prudentia // deutro[m]y 32 [um//] utina[m] sapere[n]t [et] i[n]telligere[n]t ac novissi[m]a p[ro]videre[n]t (For they are a n

Triptych of the Adoration of the Magi
Grisaille, Oil on oak panel. Ca. 1494
Bosch, Hieronymus
Triptych of the Adoration of the Magi
Grisaille, Oil on oak panel. Ca. 1494
Bosch, Hieronymus

The theme of this triptych is the advent of salvation -a message about the universality of Redemption. The Eucharistic meaning inherent in the theme of Saint Gregory’s Mass is also found in The Adoration of the Magi in the wheat stored in the upper part of the hut, above the figure of the Antichrist. Unusually, Bosch includes in his depiction of the Mass of Saint Gregory in semi-grisaille seven Pa

The Temptations of Saint Anthony
Oil on oak panel. XVI century
Bosch, Hieronymus (Copy)
The Temptations of Saint Anthony
Oil on oak panel. XVI century
Bosch, Hieronymus (Copy)

El santo arrebatado en los aires por demonios y, en tierra, rodeado de monstruos grotescos. Es copia reducida con algunas variantes, como P2051, de una portezuela del tríptico de Lisboa.

The Haywain Triptych
Oil on panel. 1512 - 1515
Bosch, Hieronymus
The Haywain Triptych
Oil on panel. 1512 - 1515
Bosch, Hieronymus

Bosch thus shows how man, irrespective of his social class or place of origin, is so possessed by the desire to enjoy and acquire material possessions that he allows himself to be deceived or seduced by the Devil. Thus the artist proposes that we should renounce earthly goods and the delights of the senses in order to avoid eternal damnation. The painting offers an exemplum of a different type to

The Temptations of Saint Anthony Abbot
Oil on oak panel. 1510 - 1515
Bosch, Hieronymus (Workshop Of)
The Temptations of Saint Anthony Abbot
Oil on oak panel. 1510 - 1515
Bosch, Hieronymus (Workshop Of)

Saint Anthony, whom the artist has been able to place in the immediate foreground of this panel by using a landscape format, closely resembles the saint depicted in the Saint Anthony triptych in Lisbon; he is wearing the same habit, the distinctive cape bearing the Tau cross and the customary rosary with a little bell. This large-scale figure, occupying most of the available space on the left of t

The Creation
Oil on panel. S XV - XVI century
Bosch, Hieronymus (Workshop Of)
The Creation
Oil on panel. S XV - XVI century
Bosch, Hieronymus (Workshop Of)

The Temptations of Saint Anthony
Oil on oak panel. 1510 - 1515
Bosch, Hieronymus
The Temptations of Saint Anthony
Oil on oak panel. 1510 - 1515
Bosch, Hieronymus

This panel originally had an arched top and included a more open landscape with less leafy trees. At an unknown date the work must have suffered damage that affected the pictorial surface, resulting in losses to the figure of Saint Anthony and the background. Possibly as a result of this, the surface was restored and some areas repainted. The most recent analyses undertaken by the Prado’s Technica

The Temptations of Saint Anthony
Oil on oak panel. S XV - XVI century
Bosch, Hieronymus (Copy)
The Temptations of Saint Anthony
Oil on oak panel. S XV - XVI century
Bosch, Hieronymus (Copy)

Interrumpen la lectura del santo ermitaño visiones obscenas y monstruosas a su alrededor, en la lejanía y en los aires. Es copia reducida con algunas variantes, como P2050, de una portezuela del tríptico de Lisboa.

The Temptations of Saint Anthony
Oil on oak panel. 1550 - 1560
Bosch, Hieronymus (Follower Of)
The Temptations of Saint Anthony
Oil on oak panel. 1550 - 1560
Bosch, Hieronymus (Follower Of)

Apoyado sobre una roca con un libro entre las manos, el santo vuelve la cabeza hacia el espectador. En la mitad inferior se han representado extrañas y monstruosas figuras, mientras que en el ángulo derecho, aparece una figura humana semidesnuda. En la parte superior se vuelven a repetir los monstruos que acosan al santo, pero de tamaño más reducido, y a la derecha encontramos dos desnudos femenin

Visio Tondali
Oil on panel. XV century
Bosch, Hieronymus (Copy)
Visio Tondali
Oil on panel. XV century
Bosch, Hieronymus (Copy)

Visio Tondalii fue el título de un poema anónimo del siglo XII de contenido moralizante, impreso en Amberes en 1482, que es considerado como una de las fuentes literarias de la obra de El Bosco.

A Crossbowman
Oil on oak panel. Second half of the XVI century
Bosch, Hieronymus (Copy)
A Crossbowman
Oil on oak panel. Second half of the XVI century
Bosch, Hieronymus (Copy)

A model similar to this one appears in the Crown of Thorns at the Royal Museum of Fine Arts in Antwerp, specifically, the figure who is supposed to place the crown of thorns on Christ´s head. The figure in the present work differs from it in the presence of a silver shell on his hat and a crossbow-shaped broach on his suit. Recent studies consider it a copy made during the second half of the sixte

Donor Agneese de Gramme protected by Saint Agnes
Oil on oak panel. Ca. 1494
Bosch, Hieronymus
Donor Agneese de Gramme protected by Saint Agnes
Oil on oak panel. Ca. 1494
Bosch, Hieronymus

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