Hieronymus Bosch

Fülszöveg

L1.50 NET IN UK ONLY
kbOUt this No one can look at the paintings of Hieronymus Bosch ¦ 1 without amazement and bewilderment. What made DOOK .ji^g artist fill his canvases with such scenes of torture, such monsters, such leering devils? Why does a sense of misery and foreboding pervade all his workis? Professor Gibson provided an answer by taking gn historical approach to the question, arguing that what seems inexplicable to us in the twentieth century was quite intejiigrble to people living in the fifteenth. The subjecfs of Bosch's painti^ngs weré in fact the overwhelming concerns of late medieval Europe: the Last " Judgment, original sin, death, temptation? oftheflesh. The author describes each picture in detail, explaining how the complicated symbolism can b^ understood by reference to medieval folk-lore and religion. He also points out that many of the acts portrayed in the pjctures were visual translations of verbal puns or « metaphors. Equipped with Professor Gibson's book,... Tovább

Fülszöveg

L1.50 NET IN UK ONLY
kbOUt this No one can look at the paintings of Hieronymus Bosch ¦ 1 without amazement and bewilderment. What made DOOK .ji^g artist fill his canvases with such scenes of torture, such monsters, such leering devils? Why does a sense of misery and foreboding pervade all his workis? Professor Gibson provided an answer by taking gn historical approach to the question, arguing that what seems inexplicable to us in the twentieth century was quite intejiigrble to people living in the fifteenth. The subjecfs of Bosch's painti^ngs weré in fact the overwhelming concerns of late medieval Europe: the Last " Judgment, original sin, death, temptation? oftheflesh. The author describes each picture in detail, explaining how the complicated symbolism can b^ understood by reference to medieval folk-lore and religion. He also points out that many of the acts portrayed in the pjctures were visual translations of verbal puns or « metaphors. Equipped with Professor Gibson's book, the reader can look at the pictures as Bosch's con-temporaries would have done, and thereby appreciate both the full force of their visual imagery and the extent o| Bosch's genius in transforming traditionaf themes and motifs.
Walter S. Gibson was born in Columbus, Ohio, in 1932 and obtained^ his BFA (cum laude) and MA at Ohio State University. He was awarded a Harvard Ph.D. in 1969 for his dissertation on The Paintings of Cornelius Epgebrecktsz. and has spent two periods of research at the Kunst-historisch Institut Rijksuniversiteit, Utrecht (1960-61, 1964r66). Professor Gibson has taught in the Department of Art, Case Western Reserve University, Ohio, since 1966 and is now Associate Professor and Chairman of Department. His special interest lies in six-teenth-century Dutch and Flemish painting and he has published a number of articles in this field. . Vissza