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References |
Further reading |
Boulanger, Gustave, Notice sur M. Lehmann, speech memorializing Lehmann, with many biographical and personal details, delivered before the Académie des Beaux-Arts, session of 27 January 1883. |
Jouin, Henri Auguste. Maîtres contemporains, Paris: Perrin et cie, 1887; chapter 6, p. 150 ff. |
Lehmann, Rudolf, An Artist's Reminiscences, London: Smith, Elder & Co., 1894. |
Turner, Jane (Ed.). The Grove Dictionary of Art: From Monet to Cézanne: Late 19th-Century French Artists, St. Martin's Press, 2000; pp. 270–271. |
External links |
Media related to Henri Lehmann at Wikimedia Commons |
Works by Lehmann (ArtCyclopedia) |
Hieronymus Bosch (; Dutch: [ɦijeːˈroːnimʏz ˈbɔs] ; born Jheronimus van Aken [jeːˈroːnimʏs fɑn ˈaːkə(n)]; c. 1450 – 9 August 1516) was a Dutch painter from Brabant. He is one of the most notable representatives of the Early Netherlandish painting school. His work, generally oil on oak wood, mainly contains fantastic ill... |
Little is known of Bosch's life, though there are some records. He spent most of it in the town of 's-Hertogenbosch, where he was born in his grandfather's house. The roots of his forefathers are in Nijmegen and Aachen (which is visible in his surname: Van Aken). His pessimistic fantastical style cast a wide influence... |
Life |
Hieronymus Bosch's first name was originally Jheronimus (or Joen, respectively the Latin and Middle Dutch form of the name "Jerome"), and he signed a number of his paintings as Jheronimus Bosch. |
His surname Bosch derives from his birthplace, 's-Hertogenbosch ('Duke's forest'), which is commonly called "Den Bosch" ('the forest'). |
Little is known of Bosch's life or training. He left behind no letters or diaries, and what has been identified has been taken from brief references to him in the municipal records of 's-Hertogenbosch, and in the account books of the local order of the Illustrious Brotherhood of Our Blessed Lady. Nothing is known of hi... |
Bosch lived all his life in and near 's-Hertogenbosch, in the Duchy of Brabant. His grandfather Jan van Aken (died 1454) was a painter and is first mentioned in the records in 1430. Jan had five sons, four of whom were also painters. Bosch's father, Anthonius van Aken (died c. 1478), acted as artistic adviser to the Il... |
's-Hertogenbosch was a flourishing city in 15th-century Brabant, in the south of the present-day Netherlands, at the time part of the Burgundian Netherlands, and during its lifetime passing through marriage to the Habsburgs. In 1463, four thousand houses in the town were destroyed by a catastrophic fire, which the then... |
Sometime between 1479 and 1481, Bosch married Aleid Goyaerts van den Meervenne, who was a few years his senior. The couple moved to the nearby town of Oirschot, where Aleid Goyaerts van den Meervenne had inherited a house and land from her wealthy family. An entry in the accounts of the Brotherhood of Our Lady records ... |
Works |
Bosch produced at least sixteen triptychs: of them, eight survive fully intact with another five surviving in fragments. Bosch's works are generally organised into three periods of his life dealing with the early works (c. 1470–1485), the middle period (c. 1485–1500), and the late period (c. 1500 until his death). Acco... |
Bosch sometimes painted in a comparatively sketchy manner, contrasting with the traditional Early Netherlandish style of painting in which the smooth surface—achieved by the application of multiple transparent glazes—conceals the brushwork. Bosch's paintings with their rough surfaces, so called impasto painting, differ... |
Bosch did not date his paintings, but—unusual for the time—he seems to have signed several of them, although some signatures purporting to be his are certainly not. About twenty-five paintings remain today that can be attributed to him. In the late 16th century, Philip II of Spain acquired many of Bosch's paintings. As... |
Painting materials |
Bosch painted his works mostly on oak panels using oil as a medium. Bosch's palette was rather limited and contained the usual pigments of his time. He mostly used azurite for blue skies and distant landscapes, green copper-based glazes and paints consisting of malachite or verdigris for foliage and foreground landscap... |
The Garden of Earthly Delights |
One of his most famous triptychs is The Garden of Earthly Delights (c. 1495–1505) whose outer panels are intended to bracket the main central panel between the Garden of Eden depicted on the left panel and the Last Judgment depicted on the right panel. It is attributed by Fischer as a transition painting rendered by Bo... |
The right panel presents a hellscape; a world in which humankind has succumbed to the temptations of evil and is reaping eternal damnation. Set at night, the panel features cold colours, tortured figures and frozen waterways. The nakedness of the human figures has lost any eroticism suggested in the central panel, as l... |
Triptych of the Temptation of St. Anthony |
Triptych of the Temptation of St. Anthony is one of the most famous Bosch's works along with The Garden of Earthly Delights. It shows Saint Anthony being tempted or assailed in the desert by demons, whose temptations he resisted; the Temptation of St Anthony (or Trial...) is the more common name of the subject. But str... |
The most common is the temptation, by seductive women and other demonic forms, but the Martin Schongauer composition (copied by Michelangelo) probably shows a later episode where St Anthony, normally flown about the desert supported by angels, was ambushed and attacked in mid-air by devils. Anasthasius describes anothe... |
With copied content from Triptych of the Temptation of St. Anthony; see that page for attribution. |
Interpretation |
In the 20th century, when changing artistic tastes made artists like Bosch more palatable to the European imagination, it was sometimes argued that Bosch's art was inspired by heretical points of view (e.g., the ideas of the Cathars and/or putative Adamites or Brethren of the Free Spirit) as well as by obscure hermetic... |
Others, following a strain of Bosch-interpretation datable already to the 16th century, continued to think 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... |
In recent decades, 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 and his conceptions of Heaven and Hell are now seen as consistent with those of late medieval didactic literature and ser... |
Latterly art historians have added a further dimension to the subject of ambiguity in Bosch's work, emphasising ironic tendencies, for example in The Garden of Earthly Delights, both in the central panel (delights), and the right panel (hell). They theorise that the irony offers the option of detachment, both from the ... |
A 2012 study on Bosch's paintings alleges that they actually conceal a strong nationalist consciousness, censuring the foreign imperial government of the Burgundian Netherlands, especially Maximilian Habsburg. By systematically superimposing images and concepts, the study asserts that Bosch also made his expiatory self... |
Debates on attribution |
The exact number of Bosch's surviving works has been a subject of considerable debate. His signature can be seen on only seven of his surviving paintings, and there is uncertainty whether all the paintings once ascribed to him were actually from his hand. It is known that from the early 16th century onwards numerous co... |
Over the years, scholars have attributed to him fewer and fewer of the works once thought to be his. This is partly a result of technological advances such as infrared reflectography, which enable researchers to examine a painting's underdrawing. Art historians of the early and mid-20th century, such as Tolnay and Bald... |
In early 2016, The Temptation of St. Anthony, a small panel in the Nelson-Atkins Museum of Art in Kansas City, Missouri, long attributed to the workshop of Hieronymus Bosch, was credited to the painter himself after intensive forensic study by the Bosch Research and Conservation Project. The BRCP has also questioned wh... |
See also |
List of paintings by Hieronymus Bosch |
List of drawings by Hieronymus Bosch |
Notes |
References |
Bibliography |
Further reading |
Ilsink, Matthijs; Koldeweij, Jos (2016). Hieronymus Bosch: Painter and Draughtsman – Catalogue raisonné. Yale University Press. p. 504. ISBN 978-0-300-22014-8. |
External links |
Jheronimus Bosch Art Center |
Hieronymus Bosch at Ibiblio |
"Hieronymus Bosch, Tempter and Moralist" Analysis by Larry Silver. |
Hieronymus Bosch – The complete works Archived 20 July 2023 at the Wayback Machine, 188 works by Bosch |
Bosch Research and Conservation Project (BRCP) |
Hieronymus Bosch, General Resources, ColourLex |
Bosch, the Fifth Centenary Exhibition: At the Prado |
Works at Open Library |
K. Katelyn Hobbs, "Ecce Homo by a follower of Hieronymus Bosch (cat. 352)" in The John G. Johnson Collection: A History and Selected Works, a Philadelphia Museum of Art free digital publication. |
Hippolyte Camille Delpy (1842–1910) was a French painter. |
He came from a moderately wealthy family from Joigny, in the Burgundy region of France. His son, Henry Jacques Delpy (1877–1957), also became a painter, as did a cousin on his father's side, Lucien-Victor Delpy (1898–1967). |
Delpy studied with Charles-François Daubigny as well as Corot. A contemporary of the Impressionists, Delpy blended the subject matter that he adopted from Daubigny with the brighter colors and looser paint handling that were trademarks of his own generation to create distinctive new visions of many of the landscapes fi... |
Delpy became interested in painting when he met Daubigny around 1855, and in 1858 Daubigny took on Delpy as an informal student. During the summers, Delpy (who was close in age to Daubigny's own son, Karl, also a painter) traveled with Daubigny on excursions aboard the studio-boat "Le Botin". Through Daubigny, Delpy me... |
In the early 1870s, Delpy worked often in Ville-d'Avray, Corot's favored country site, and in Auvers-sur-Oise where Daubigny lived. Delpy began friendships with Pissarro and Cézanne who shared his admiration of Daubigny. |
His Salon paintings of 1873 and 1874 were well received. In 1875, exhibited a snow scene at the Salon for the first time and was complemented by the critic Jules-Antoine Castagnary for his originality. |
In 1876 Delpy organized a sale of his own paintings at the auction house Hôtel Drouot, an unusual undertaking. The sale was favorably announced in several newspapers and was a significant success, with all 45 works sold. That summer, Delpy moved his family to Bois-le-Roi, outside the Forest of Fontainebleau. |
At the Salon of 1880, Delpy exhibited a potato harvesting scene, his first landscape with large-scale figures. Throughout the 1880s, Delpy alternated work on the Normandy coast with stays in the Forest of Fontainebleau and in Paris. Delpy received his first Salon medal in 1884. |
In 1886, Delpy traveled to the United States as part of a team that painted a panorama of the battle of Manassas (American Civil War) in Washington DC. At the Exposition Universelle of 1889, Delpy was awarded an honorable mention. |
The Galerie Georges Petit, a leading dealer in contemporary French paintings, began to handle his work and subsequently organized several one-man exhibitions of Delpy's paintings. Petit was simultaneously promoting Pissarro and Alfred Sisley and would later show Monet. In 1908, Delpy was given an exhibition at the pres... |
Delpy died in 1910. |
References |
External links |
Media related to Camille-Hippolyte Delpy at Wikimedia Commons |
Hippolyte Camille Delpy at the Fine Art Dealers Association website |
Honoré-Victorin Daumier (French: [ɔnɔʁe domje]; February 26, 1808 – February 10 or 11, 1879) was a French painter, sculptor, and printmaker, whose many works offer commentary on the social and political life in France, from the Revolution of 1830 to the fall of the second Napoleonic Empire in 1870. He earned a living p... |
He was also a serious painter, loosely associated with realism, sometimes blurring the boundaries between caricature and fine art. Although he occasionally exhibited at the Parisian Salon, his paintings were largely overlooked and ignored by the French public and critics of the day. Yet Daumier's fellow painters, as we... |
Honoré Daumier came from a poor family and was working by the age of 12, first at a huissier de justice, then at a bookstore frequented by artists where he began to draw. He received some mentorship from Alexandre Lenoir, attended the Académie Suisse, learned lithography, and was producing advertisements, illustrations... |
Daumier married Alexandrine Dassy in 1846 and moved to the Île Saint-Louis where they lived until 1863. He increasingly associated with writers, poets, painters, and sculptors there, including Baudelaire, Corot, Courbet, Delacroix among others, and began to paint in earnest. He spent his summers from 1853 onward in Bar... |
Life |
Early life: 1808–1830 |
Daumier was born in the south of France, in Marseille, to Jean-Baptiste Louis Daumier and Cécile Catherine Philippe. His father Jean-Baptiste was a glazier (corresponding nowadays to a framer), a poet and a minor playwright whose literary aspirations led him to move to Paris in 1814, followed by his wife and the young ... |
Lithography was a relatively new form of printmaking in the early 19th century, invented in Germany in the late 1790s. It was a fast and cheap method of mass-producing prints compared to the traditional practices of engraving and etching. Likewise, the art of the caricature, which was relatively established and popular... |
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