In earlier centuries it was often believed that Bosch’s art was inspired by medieval heresies and obscure hermetic practices. Others thought that his work was created merely to titillate and amuse, much like the "grotteschi" of the Italian Renaissance. While the art of the older masters was based in the physical world of everyday experience, Bosch confronts his viewer with, in the words of the art historian Walter Gibson, "a world of dreams [and] nightmares in which forms seem to flicker and change before our eyes." In the first known account of Bosch’s paintings, in 1560 the Spaniard Felipe de Guevara wrote that Bosch was regarded merely as "the inventor of monsters and chimeras". In the early seventeenth century, the Dutch art historian Karel van Mander described Bosch’s work as comprising "wondrous and strange fantasies"; however, he concluded that the paintings are "often less pleasant than gruesome to look at."[7]
In the twentieth century, scholars have come to view Bosch’s vision as less fantastic, and accepted that his art reflects the orthodox religious belief systems of his age. His depictions of sinful humanity, his conceptions of Heaven and Hell are now seen as consistent with those of late medieval didactic literature and sermons. Most writers attach a more profound significance to his paintings than had previously been supposed, and attempt to interpret it in terms of a late medieval morality. It is generally accepted that Bosch’s art was created to teach specific moral and spiritual truths in the manner of other Northern Renaissance figures, such as the poet Robert Henryson, and that the images rendered have precise and premeditated significance. According to Dirk Bax, Bosch’s paintings often represent visual translations of verbal metaphors and puns drawn from both biblical and folkloric sources.[8]
However, some writers see Bosch as a proto-type medieval surrealist, and parallels are often made with the twentieth century Spanish artist Salvador Dali. Other writers attempt to interpret his imagery using the language of Freudian psychology. However such theses are commonly rejected; according to Gibson, "what we choose to call the libido was denounced by the medieval church as original sin; what we see as the expression of the subconscious mind was for the Middle Ages the promptings of God or the Devil."[9]
The artist Susan Dorothea White has produced contemporary interpretations of Bosch's compositions - The Crowning with Sexism combines iconographic images of Marilyn Monroe and Joe DiMaggio, and The Seven Deadly Sins of Modern Times and The Seven Deadly Isms, both on circular tables, depict contemporary sins and obsessions.
---------------------------------Hieronymus Bosch - Wikipedia
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