Renaissance
In the Garden of Earthly Delights
The Garden of Earthly Delights
Triptych
Bosch, Hieronymous
1490-1500
Triptych
Bosch, Hieronymous
1490-1500
When I first began researching for this blog, I didn't know which work of art I'd be reviewing. I've always been a fan of anything by Botticelli, but this time I wanted to explore something different. Prior to this course, I had never been exposed to anything by Bosch, and had never seen or heard of this masterpiece until now.
The whole of this work is sinister, grotesque, and spectacular all at the same time. Some of the creatures he created here and the way in which he represented his message to the viewer are simply fascinating. Despite the vulgar and grotesque scenes depicted, one cannot help but continue exploring the work. It's difficult to tear your eyes away once you start really looking at the scenes.
We will start with the scene to the left, which is widely regarded to be a biblical reference to the Garden of Eden and the union of man and woman, which we see in the foreground. There is a Christ-like figure seemingly leading Eve to the male figure seated on the ground - presumably Adam. In the background, we can see animals roaming the Earth - some recognizable, some sprung from the imagination of Bosch. The overall feeling of this first scene lends a feeling of unfettered beauty - nothing has yet been tainted by the evils of man.
The middle scene, also the largest, represents all of the sins of man on Earth. There are scenes of nude men and women engaging in various sexual acts and consuming various large fruits. We see a pond full of nude women resembling the Sirens of Greek mythology swimming in a pool, surrounded by nude men riding various animals around the pool. The overall focus of this scene is pleasure and the ways in which humans seek pleasure and engage in sin in this worldly environment.
The last scene is rather sinister. This panel depicts Hell and what Bosch perceived us looking forward to should we continue engaging in the Earthly sins depicted in the middle panel. This scene is rather horrifying upon examination, with fantastic beasts, pain, and punishment at the forefront. The colors used in this panel are notably darker than the other two panels and impart feelings of doom. Of note, the figure in the center looking back at the viewer is said to be a self-portrait of Bosch.
This interactive tour takes you on a journey through each panel and is quite fascinating. You can also freely explore the painting on your own. Keep an eye out for the "Extra Story" tab in the upper right hand corner for further notable information: https://archief.ntr.nl/tuinderlusten/en.html
This work is a departure from other Renaissance artists of the time. While the overriding theme is based on Christian ideologies, the way in which Bosch feeds this message to the viewer is imaginative and unique. His use of color gives the viewer feelings of peace, pleasure, and discomfort with every inspection of each individual panel. It's like a train wreck that you can't simply look away from. Instead, it begs you to continue your exploration, and discover something new with each glance. His work reminds me of the works of Salvador Dali in a way - existing in a whole other dimension of time and space. If Bosch were alive today, I imagine his work would exist in a Tim Burton-like fantasy land - one of delightful curiosities and creations with endless visionary excellence.
References:
Bosch, H., Museo Del Prado (2022)
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