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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.
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 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 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
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
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.
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
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
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
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
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
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
This is a portrait of María Cristina de Borbón y Bosch-Lebrús (15 May 1913–Paris, 28 July 2002). Daughter of Fernando Sebastián de Borbón y Madán and of Leticia Bosch-Lebrús (P007896). She held the title of 3rd Duchess of Dúrcal beginning in 1944.
This is a portrait of Leticia Bosch-Labrús (Madrid, 29 September 1881). She married Fernando Sebastián de Borbón, Duke of Dúrcal in 1910. They had two daughters: María Cristina (P007881) and Leticia.During his life and his career, he travelled several times throughout Europe. One of his trips was to Paris, where he kept a studio for almost two years during which
After Bosch’s death, his style remained very successful both in the Netherlands and in Italy and Spain. This picture, painted nearly half a century after his death, is an example of the many that were produced in imitation of his style. In this case, the scene is inspired by the representation of Hell in The Garden of Earthly Delights, which also belongs to the Prado.
