Bosch

Оглавление

Virginia Pitts Rembert. Bosch

Preface

Introduction

Chapter I: The Literature on Bosch to Wilhelm Fränger

Chapter II: Fränger’s Thesis (Epiphanies and Absurdities)

Chapter III: Fränger and Beyond

Chapter IV: A More Prosaic View

Chapter V: Saint Anthony, the Devil, and, other sources from Bosch’s world

Chapter VI: The Lisbon triptych

Conclusion

Bibliography

Отрывок из книги

1. Pieter Jansz Saenredam (1597–1665), The Choir of the Church of Saint John, Bois-le-Duc, drawing, British Museum, London

2. Pieter Jansz Saenredam (1597–1665), View of Bois-le-Duc with the Church of Saint John, 1632, Royal Museums of Fine Arts of Belgium, Brussels

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The fact that these events did not happen as so balefully set forth made the turning of the Millennium seem almost anticlimactic-until “9–11,” that is-which many saw as the USA’s Armageddon. Similar predictions and oddities had occurred in the decade leading up to the half-Millennium of 1500. As if their predecessors of the first 1000 years had been mistaken about when the Judgment would come, contemporary thinkers expected it to appear without fail in the year 1500.

Art historian Charles Cuttler summed up the emotional atmosphere of the time: “It was a time of pestilence and turbulence, of economic, social, and religious unrest; an age which believed in chiliasm, Antichrist, apocalyptic visions; in witchcraft, alchemy, and astrology… It was also a period of extreme pessimism, the natural outcome of a belief in demons fostered by the Church itself…” (“Lisbon,”109).

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