Stylistic analysis leads to the conclusion that it was Bosch himself who overpainted the patron. The strange plant in the St John the Baptist panel hides a male patron. The apostle St John and St John the Baptist were the patron saints of the Church of St John and of the Brotherhood. Bosch’s St John on Patmos (Berlin) and St John the Baptist (Madrid) were painted for the altarpiece of the Brotherhood’s chapel in the Church of St John ( Fischer presents this as a proven fact, whereas it is a hypothesis). The architect Jan Heyns was also a member of the Brotherhood. Considering this social context, it is absurd to claim that Bosch would have painted for a heretical sect. The Brotherhood’s contacts with the local Dominicans were good.
In 1488/89, he already joined the inner circle of ‘sworn brothers’ of this elite society, which means that Bosch was a cleric and had received one of the minor orders.
Striking – in the paragraphs dedicated to Bosch’s presumed Latin education – is the attention (inspired by Paul Vandenbroeck’s research) paid to the Latin treatise De disciplina scholarium, which is the source for the Latin line in the The field has eyes drawing.Įine keineswegs geheime Bruderschaft īosch probably attended the Latin school in ’s-Hertogenbosch and joined the local Brotherhood of Our Lady in 1486/87. According to Fischer, the patron represented in the Crucifixion is an executioner. The Brussels Crucifixion and the Ghent St Hieronymus are considered Bosch’s oldest paintings that have come down to us. Jeroen van Aken – Spross einer Malerdynastie įirst an overview of the biographical data regarding Bosch and his family. Typical of the urban early Humanism in ’s-Hertogenbosch were the interest in parody and comical satire, and also a predilection for monstrous, hybrid, grotesque, and fantastic motifs, which could function as allegorical references to the works of the devil and to the consequences of sin. Of major importance were the Modern Devotion (with its admiration for early Christian ascetics such as St Anthony and St Hieronymus), the Dominicans, the Brethren of the Common Life, and the Latin school. Clergy was strongly present in ’s-Hertogenbosch. ’s-Hertogenbosch had closer ties with the East than with the South. At the end of the fifteenth century, though, this city went through an economic and cultural growing process. The highest nobility in the Netherlands (Maximilian I, Philip the Fair) was responsible for some major commissions, and yet Bosch’s art was produced far away from the centres of nobility, namely in ’s-Hertogenbosch. This chapter focuses on Bosch’s cultural-historical context. This very sound Bosch monograph addresses the general reader and comprises thirteen chapters. Im Irrgarten der Bilder – Die Welt des Hieronymus Bosch (Stefan Fischer) 2016
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