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Relevant bibliographies by topics / Hieronymus Bosch

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Academic literature on the topic 'Hieronymus Bosch'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 January 2023

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Journal articles on the topic "Hieronymus Bosch"

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Benge, Glenn F. "Hieronymus Bosch." Religion and the Arts 21, no. 4 (2017): 545–54. http://dx.doi.org/10.1163/15685292-02104004.

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Houck, Max M. "Hieronymus bosch not included." Science & Justice 41, no. 4 (October 2001): 296. http://dx.doi.org/10.1016/s1355-0306(01)72277-0.

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Büttner (book author), Nils, and Larry Silver (review author). "Hieronymus Bosch: Visions and Nightmares." Renaissance and Reformation 39, no. 3 (January 14, 2017): 170–72. http://dx.doi.org/10.33137/rr.v39i3.27728.

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Jacobs, Lynn F. "The Triptychs of Hieronymus Bosch." Sixteenth Century Journal 31, no. 4 (2000): 1009. http://dx.doi.org/10.2307/2671185.

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Koerner, Joseph Leo. "Hieronymus Bosch, Painter and Draftsman: Catalogue Raissoné / Hieronymus Bosch, Painter and Draftsman: Technical Studies." Common Knowledge 23, no. 3 (September 2017): 543–44. http://dx.doi.org/10.1215/0961754x-4181828.

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Pol, Yasmin. "A representação do híbrido na pintura de bosch." Palíndromo 12, no. 27 (May 1, 2020): 148–66. http://dx.doi.org/10.5965/2175234612272020148.

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O presente trabalho tem como objetivo conceituar historicamente o híbrido, evidenciando as significações a ele atribuídas, e relacioná-lo com a obra de Hieronymus Bosch. Para a compreensão dessas relações, é preciso entender separadamente cada elemento, por isso, o artigo é dividido em três partes: o conceito de híbrido, a vida e obra de Hieronymus Bosch e análise de uma obra deste artista. Esta breve análise de imagem deixa evidente as visões e conotações atribuídas ao híbrido desde a Antiguidade. Como metodologia de pesquisa foram utilizados livros e artigos científicos que abordam o tema, além do levantamento e estudo de obras de Bosch.

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Mann, Richard G. "Hieronymus Bosch: Garden of Earthly Delights." Utopian Studies 16, no. 1 (2005): 151–55. http://dx.doi.org/10.2307/20718729.

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Mann, Richard G. "Hieronymus Bosch: Garden of Earthly Delights." Utopian Studies 16, no. 1 (2005): 151–55. http://dx.doi.org/10.5325/utopianstudies.16.1.0151.

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Fontana, Andrea. "Of Heaven and Hell: Narrating Hieronymus Bosch." Qualitative Inquiry 3, no. 2 (June 1997): 237–49. http://dx.doi.org/10.1177/107780049700300206.

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Wormer, Eberhard J. "Die Himmel und Höllen des Hieronymus Bosch." Orthopädie & Rheuma 17, no. 5 (October 2014): 64–65. http://dx.doi.org/10.1007/s15002-014-0719-2.

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Dissertations / Theses on the topic "Hieronymus Bosch"

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Fischer, Stefan. "Hieronymus Bosch Malerei als Vision, Lehrbild und Kunstwerk." Köln Weimar Wien Böhlau, 2009. http://d-nb.info/992146844/04.

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Silva, Tiago Varges da. "O pecado no cotidiano medieval: as obras moralizantes e sociais de Hieronymus Bosch (1485-1516)." Universidade Federal de Goiás, 2015. http://repositorio.bc.ufg.br/tede/handle/tede/5393.

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The present dissertationaims at analyzing the historical processes which enabled the creation of sin as a fundamental element of Christian theology and, also, at reflecting upon how the iconographic resource was determinative in those processes. Therefore, we have utilized the works of the Flemish painter Hieronymus Bosch (1450-1516) that were produced between the years 1485 and 1516.We understand that Bosch is noteworthy among the artists who tried to represent the human vices, especially because he made use of everyday life elements to represent the theme. For this reason, we have developed a dialogue between Bosch‘s work and a number of other artists‘ works which have also approached sin as an object, in an attempt to problematize those images from the iconographic method. We believe that Bosch‘s work is part of a process of intense preoccupation with sin and its consequences, which is a characteristic of the transitional period from the medievalera to the Renaissance.
A presente dissertação tem como objetivos analisar os processos históricos que possibilitaram a criação do pecado como elemento fundamental da teologia cristã e refletir sobre como o recurso iconográfico foi determinante em tais processos. Para tanto, lançamos mão da obra do pintor flamengo Hieronymus Bosch (1450-1516) produzida entre os anos de 1485 e 1516, por considerarmos que ele se destaca entre os artistas que se dedicaram a representar os vícios humanos, sobretudo por utilizar elementos da vida cotidiana para representar esse tema. Para tanto, desenvolve-se um diálogo da obra de Bosch com uma série de trabalhos de outros artistas que também abordaram o pecado como objeto, de forma a problematizar essas imagens a partir do método iconográfico. Acreditamos que sua obra faz parte de um processo de intensa preocupação com o pecado e suas consequências, característica do período de transição do Medievo para a Renascença.

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Palma, Laura Pinca da. "O homem que cai: o \'Carro de feno\' de Bosch em \'Procissão ao cálvaro\' de Bruegel." Universidade de São Paulo, 2015. http://www.teses.usp.br/teses/disponiveis/8/8138/tde-05082015-150458/.

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A presente tese versa a respeito das correspondências existentes entre a obra de dois dos mais importantes pintores flamengos, Hieronymus Bosch e Petrus Bruegel. A influência que Bosch (145?-1516) exerceu em Bruegel (15??-1569) é conhecida e mencionada, ainda que em termos gerais, por quase todos seus estudiosos. Este trabalho procura precisar alguns de seus aspectos. A influência de Bosch na obra de Bruegel apresenta-se não como algo fortuito ou resultante de meros traços de estilo, mas materializado em uma linguagem simbólica comum construída por suas figuras. Bruegel se apropria da linguagem pictórica de Bosch, desenvolve-a e com ela desenha várias de suas obras. É com essa mesma linguagem que Bruegel dá expressão a seu anticlericalismo. Em épocas de perseguição à heresia, o símbolo pictórico constitui um conveniente esconderijo para o ataque à Igreja e parece ter sido refúgio comum dos dois pintores. Existe entretanto uma obra de Bruegel em que a influência de Bosch parece estar ausente, trata-se de seu Procissão ao Calvário (Viena, 1564). Todavia, como se procurará apontar, há grande influência do famoso tríptico de Bosch Carro de Feno (1490, Escorial) nessa obra. Bruegel fez em seu Procissão ao Calvário uma espécie de releitura da pintura de Bosch, apesar de acrescentar novos significados. Desvendando um pouco da linguagem bruegueliana encontramos na Procissão ao Calvário uma alusão precisa e ampla ao Carro de Feno de Bosch. A obra de Bruegel parece comportar uma paráfrase velada do quadro de seu antecessor, além dar expressão às mesmas críticas. A temática de ambas as obras também é comum: a queda do homem, tema muito recorrente na arte renascentista.
This thesis deals with the connections between the work of two of the most important Flemish painters, Hieronymus Bosch and Petrus Bruegel. The influence Bosch (145 ? - 1516) exercised on Bruegel (15 ?? - 1569) is acknowledged and mentioned, even if only in general terms, by almost all scholars who study the authors. This work attempts to further analyze certain aspects of these connections. We are going to argue that the influence of Bosch on Bruegels work is not accidental or the result of mere traces of style; it is, in fact, materialized in a common symbolic language built by the figures he painted. Bruegel appropriated Boschs pictorial language, developed it and incorporated it in several of his paintings. Bruegel used this same language in order to express his anticlericalism. In times of persecution against heresy, the pictorial symbol was a convenient hiding place for the attack of the Church, and it seems to be, for both painters, a common place of refuge. There is one of Bruegels work in which the influence of Bosch seems to be absent, though: the \"Way to Calvary\" (Vienna, 1564). We are going to state, however, that there is a great influence of the famous triptych of Bosch \"Haywain\" (1490, Escorial) on this work. There is evidence to suggest that Bruegel, in his \"Way to Calvary\", carried out a kind of reinterpretation of Bosch\'s painting, although he also added new meanings. Unveiling a little Bruegels language, it is possible to find in \"Way to Calvary\" a specific and broad allusion to Boschs \"Haywain\". Bruegels work seems, thus, not only to contain a paraphrase of his predecessors triptych, but also to be an expression of the same criticism. This is further suggested by the fact that the theme of both works is common: the fall of man, which was a very recurrent theme in Renaissance art.

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Covolan, Elaine Nunes de Aguiar. "Esculturas boschianas = expllorando possibilidades escultóricas a partir da obra de Hieronymus Bosch." [s.n.], 2011. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284432.

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Orientador: Ernesto Giovanni Boccara
Dissertação (mestrado) - Universidade Estadual de Campnas, Instituto de Artes
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Resumo: O trabalho aqui apresentado consiste de uma produção artística na área de poéticas visuais, em que foram desenvolvidas expressões escultóricas originais que encontram relações com a obra do pintor Hieronymus Bosch. A semelhança mais significativa não se apresenta tanto no aspecto formal, mas é vislumbrada em outra instância, na sondagem do homem interior, na busca das realidades profundas e comuns a todo ser humano. Esta dissertação inicia-se com a investigação do universo simbólico e conceitual do tríptico "O Jardim das Delícias", de Bosch, visando estabelecer um quadro de referências conceituais a partir do qual se consiga entrever relações entre esta obra e o trabalho aqui apresentado. A partir destas referências, as reflexões evoluem na direção de discutir a noção da identidade no tempo, a ambiguidade das relações entre conhecer e ser, e a importância do impulso vital, a vontade humana. Trata-se de indagações e perplexidades subjacentes ao próprio trabalho artístico da autora, que são elaboradas em forma dialogal com as visões de vários pensadores citados ao longo deste trabalho
Abstract: The work presented here consists of an artistic production in the area of visual poetry by which unique sculptural expressions have been developed that are in relationship with the works of the painter Hieronymus Bosch. The most significant similarity is not presented in the formal aspect, but it is seen in another instance, in the inquiry of the inner man, in the search of the profound realities common to every human being. This dissertation begins with the investigation of the conceptual and symbolic universe of the triptych "The Garden of Earthly Delights", by Bosch, aiming at to establish a conceptual frame of reference from which one can glimpse the relations between this work and the work presented here. From these references, reflections evolve towards discussing the notion of identity in time, the ambiguity of the relationship between knowing and being, and the importance of vital impulse, the human will. These are questions and concerns underlying the author's own artwork, which are elaborated in a dialoguing form with the views of various thinkers cited in this work
Mestrado
Mestre em Artes

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Niehus, Patrick. "Hieronymus Bosch, St Anthony and the mystics : the interaction of art and late medieval piety /." Title page, and introduction only, 1995. http://web4.library.adelaide.edu.au/theses/09AR/09arn6657.pdf.

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Wilkinson, I. M. "The borrowing of hell : religious significance & its sources in the work of Hieronymus Bosch." Thesis, University of Essex, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.434406.

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Daines, Alison. "Ascents and Descents: Personal Pilgrimage in Hieronymus Bosch's The Haywain." Diss., CLICK HERE for online access, 2009. http://contentdm.lib.byu.edu/ETD/image/etd3322.pdf.

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Hwang, Eunyoung. "Reinterpreting Hieronymus Bosch's Table Top of the Seven Deadly Sins and the Four Last Things through the Seven Day Prayers of the Devotio Moderna." Thesis, University of North Texas, 2000. https://digital.library.unt.edu/ark:/67531/metadc2573/.

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This thesis examines Hieronymus Bosch's Table Top of the Seven Deadly Sins and the Four Last Things. Instead of using an iconographical analysis, the thesis investigates the relationship between Bosch's art and the Devotio Moderna, which has been speculated by many Bosch scholars. For this reason, a close study was done to examine the Devotio Moderna and its influence on Bosch's painting. Particular interest is paid to the seven day prayers of the Devotio Moderna, the subjects depicted in Bosch's painting, how Bosch's painting blesses its viewer during the time of one's prayer, and how the use of gaze ties all of these ideas together.

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Ioshimoto, Lilian Wurzba. "Natureza irreal ou fantástica realidade?: uma reflexão sobre a melancolia religiosa e suas expressões simbólicas na obra de Hieronymus Bosch." Pontifícia Universidade Católica de São Paulo, 2009. https://tede2.pucsp.br/handle/handle/2124.

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This research deals with religious melancholy and its symbolical expressions in the Hieronymus Bosch s pictorial work. Starting from Robert Burton s definition, it investigates the appropriateness of the concept of religious melancholy as a description of the paradox of human condition. Going all the way from the first definitions of the phenomenon, in the Hippocratic corpus or in philosophy, through its presence in medieval theology, until reaching as far as modern psychiatry, it claims, based on the categories of Carl Gustav Jung analytical psychology, that it can be best understood as a symbol expressing the soul s most typical process, a psychic state representative of the duality of human existence, rather than as mere pathology. Severed from its original ontological state of identify to become something a being in time and space, the soul must recognize itself as fragment of what is real rather than as an unreal whole; it must accept that it is a creature, not the creator. This process, going as it were beyond rational grasp (since it is representative of the relation of the I with the depths of the psyche), can only translate into images, from the sublime and incomprehensible to the perverse and grotesque. Fantastic images like the ones found in the figurative universe of Bosch s work, which, apart from its open satirical and pedagogical purpose, displays not the fear of death or man s lack of foundation, but the on-going tension between the I, the world and God the angst of living. The present work is, thus, a symbolic analysis of Hieronymus Bosch based on the many commentators of his ground-breaking body of work, on the theoretical views on melancholy developed throughought history and Jungian concepts, with the purpose of identifying religious melancholy in Bosch s labyrinthic landscapes as an essential feature of the human condition
Esta pesquisa aborda a melancolia religiosa e suas expressões simbólicas na obra pictórica de Hieronymus Bosch. A partir da definição de Robert Burton, investiga a pertinência do conceito de melancolia religiosa como descrição da paradoxal condição humana. Percorrendo desde suas primeiras definições, na medicina hipocrática ou na filosofia, passando pela teologia medieval, até a psiquiatria moderna, e apoiada nos aportes da psicologia analítica de Carl Gustav Jung, verifica que, para além de uma patologia, pode-se entendê-la como um símbolo que expressa o processo típico da alma, um estado psíquico que marca a dualidade da existência humana: separada de sua identidade ontológica, para se tornar realidade no tempo e no espaço, deve-se reconhecer como um fragmento real e não um todo irreal, deve aceitar que é criatura e não Criador. Tal processo, ultrapassando a compreensão racional, pois significa a relação do eu com as profundezas abissais da psique, só pode ser traduzido em imagens que vão desde o sublime e incompreensível até o perverso e grotesco. Imagens fantásticas como as encontradas na trama figurativa da obra bosquiana que, ademais de uma sátira ou predicação, revela não o medo da morte ou a falta de fundamento do homem, mas a permanente tensão eu-mundo-Deus, a angústia de viver. Este trabalho, assim, configura-se como uma análise simbólica das pinturas de Hieronymus Bosch, apoiado em seus comentadores, nas teorias sobre melancolia desenvolvidas ao longo da história e no referencial junguiano, com o objetivo de identificar, nas paisagens labirínticas bosquianas, a melancolia religiosa, característica essencial do humano

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Renkse, Rasmus. "Det surrealistiska bilduttryckets diskurs i konstvetenskaplig kurslitteratur : En historiografisk studie av stilmässig generalisering." Thesis, Södertörns högskola, Konstvetenskap, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-43765.

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The discourse of pictorial surrealistic expressions in art historic course literature – a historiographic study about generalization of style. Through a historiographic perspective and discourse analysis the aim of this study is to uncover the ways art historic course literature make its stylistic categorization. This is done by making a semiotic categorization where three artworks are stipulated into a category called surrealistic pictorial expressions. The result of the semiotic picture analysis show both the semiotic grouping of pictures together and the work of the course literature as somewhat arbitrary, which lead to the questioning of why artworks are considered discursive objects while the course literature is not as well as how the narrative of pictures differs from the narrative of textbooks. The study shows a fundamental difference regarding the structuring of time which lead to a discussion on what might be the consequences for students of the field.
Undersökningen består huvudsakligen i två delar. Den första stärker genom bildanalys en samhörighet mellan tre konstverk, en samhörighet som trots allt visar sig vara problematisk. Den andra delen behandlar tre böcker som i stor utsträckning utgör fundamentet för den litteratur som studeras inom konstvetenskap på grundnivå. Med hjälp av slutsatsen från bildanalysen, att ett samband mellan bilder är relativt godtyckligt, kan texterna analyseras och betydande skillnader visar sig i hur konstverken kontra kurslitteraturen kommunicerar. Framförallt skiljer de sig åt i hur de strukturerar berättande tidsligt och likt bilderna som böckerna behandlar är de själva föremål för de strömningar som rör sig i samhället. Slutsatsen blir att studerande av konstvetenskap redan från början leds in i föreställningen om att konsthistorien är något som faktiskt existerar på ett objektivt plan medan det egentligen är något som aktivt skapas av de praktiserande inom fältet

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Books on the topic "Hieronymus Bosch"

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Linfert, Carl. Hieronymus Bosch. New York: H.N. Abrams, 1989.

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Hieronymus Bosch. Avon, England: Artline Editions, 1988.

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Linfert, Carl. Hieronymus Bosch. London: Thames and Hudson, 1989.

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Fraenger, Wilhelm. Hieronymus Bosch. London: Bracken Books, 1989.

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Fraenger, Wilhelm. Hieronymus Bosch. Dresden: Verlag der Kunst, 1994.

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Linfert, Carl. Hieronymus Bosch. New York: Harry N. Abrams, 2003.

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Gibson, Walter S. Hieronymus Bosch. New York: Thames and Hudson, 1985.

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Hieronymus Bosch. Buenos Aires: Ediciones del Dock, 2005.

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Hieronymus Bosch. [Germany]: G + B Arts International, 1999.

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1516, Bosch Hieronymus d., ed. Hieronymus Bosch. 2nd ed. New York: Dorset Press, 1989.

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Book chapters on the topic "Hieronymus Bosch"

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Frenken, Ralph. "Pränatale Aspekte zweier Jenseitsdarstellungen von Hieronymus Bosch." In Symbol Plazenta, 241–66. Wiesbaden: Springer Fachmedien Wiesbaden, 2015. http://dx.doi.org/10.1007/978-3-658-10581-5_3.

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Suchomsky, Sören. "13. Engel der Auferstehung “Flug zum Himmel” von Hieronymus Bosch (um 1500)." In Bilder predigen, 119–24. Göttingen: Vandenhoeck & Ruprecht, 2013. http://dx.doi.org/10.13109/9783666630477.119.

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"Hieronymus Bosch." In Apokalypse und Politik, 420. Wilhelm Fink Verlag, 2017. http://dx.doi.org/10.30965/9783846760567_054.

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Lausberg, Michael. "10 Hieronymus Bosch." In Geistige Vorreiter des Humanismus, 133–46. Tectum – ein Verlag in der Nomos Verlagsgesellschaft, 2017. http://dx.doi.org/10.5771/9783828867420-133.

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Madelénat, Daniel. "L’Oural saisi par Bosch : Anatoli Koroliov, Être Hieronymus Bosch." In Costumes, reflets et illusions, 69–85. Presses universitaires de Rennes, 2014. http://dx.doi.org/10.4000/books.pur.55404.

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LEO KOERNER, JOSEPH. "Everyman in Motion: From Bosch to Bruegel." In Proceedings of the British Academy, Volume 139, 2005 Lectures. British Academy, 2007. http://dx.doi.org/10.5871/bacad/9780197263945.003.0011.

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This chapter discusses the rise of a painting in everyday life in Northern Europe. It focuses on the representations of ‘everyman’ in the art of the early pioneers of genre painting: Pieter Bruegel the Elder and Hieronymus Bosch. It considers the figure of ‘trapping’ in these artists, as a model both of everyman's relation to the world and of the picture's relation to the viewer.

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Strickland, Debra Higgs. "Monsters, Demons, and Jews in the Painting of Hieronymus Bosch." In Monsters and Monstrosity in Jewish History. Bloomsbury Academic, 2019. http://dx.doi.org/10.5040/9781350052178.0010.

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Mills, Robert. "Recognizing Wilgefortis." In Trans Historical, 133–59. Cornell University Press, 2021. http://dx.doi.org/10.7591/cornell/9781501759086.003.0007.

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This chapter looks into Wilgefortis, a female bearded martyr. It starts with the gender confusion of a triptych by Hieronymus Bosch, which is currently exhibited in the Gallerie dell'Accademia in Venice. Arguments rose in favor of the identification of Bosch's crucified figure with Wilgefortis. The beard became a crucial attribute in the surviving images of Wilgefortis. The threat posed by female facial hair to aesthetic, social, and psychic norms may explain efforts on the part of at least some artists to render Wilgefortis' beard insubstantially. The chapter explains how the term “trans” encompasses the transition of both trans men and trans women without perceiving them to a gender binary.

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"The Internet and Hieronymus Bosch: Fear, Protection, and Liberty in Cyberspace." In The Harvard Sampler, 57–90. Harvard University Press, 2011. http://dx.doi.org/10.4159/harvard.9780674062900.c4.

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Strickland, Debra Higgs. "Picturing Antichrist and Others in the Prado Epiphany by Hieronymus Bosch." In Others and Outcasts in Early Modern Europe, 11–35. Routledge, 2017. http://dx.doi.org/10.4324/9781315090214-2.

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Conference papers on the topic "Hieronymus Bosch"

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Ferner, Cornelia. "Captioning Bosch: A Twitter Bot." In Thirty-First International Joint Conference on Artificial Intelligence {IJCAI-22}. California: International Joint Conferences on Artificial Intelligence Organization, 2022. http://dx.doi.org/10.24963/ijcai.2022/694.

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Abstract:

The artworks by Dutch painter Hieronymus Bosch are well known for their incredible wealth of details. The popular BoschBot regularly posts small segments of the digitized paintings on Twitter, thus relieving their density and making them more accessible. CaptioningBoschBot, the Twitter bot presented in this demo, reverses the creative process of the artist: It uses the out-of-context painting segments as input for an encoder-decoder model to generate captions that interpret the painted objects. As the model was only trained on realistic, photographic images, curious interpretations of the otherworldly details can be observed. The generated captions are again posted on Twitter to encourage discussions about Bosch's masterpieces and the AI technology in general.

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OLIVEIRA DE ALBUQUERQUE, LARISSA. "O medo no Tríptico Juízo Final de Hieronymus Bosch (1450-1516)." In Semana Nacional da Ciência e Tecnologia IFRO Campus Cacoal. ,: Even3, 2022. http://dx.doi.org/10.29327/snctifrocampuscacoal2021.413101.

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Prata Villar Marcelino, Yasmim. "A representação do inferno no Tríptico Juízo Final, de Hieronymus Bosch (1450-1516)." In Semana Nacional da Ciência e Tecnologia IFRO Campus Cacoal. ,: Even3, 2022. http://dx.doi.org/10.29327/snctifrocampuscacoal2021.412829.

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Rodrigues de Oliveira, Norma. "A representação do pecado no Tríptico no Juízo final de Hieronymus Bosch (1450-1516)." In Semana Nacional da Ciência e Tecnologia IFRO Campus Cacoal. ,: Even3, 2022. http://dx.doi.org/10.29327/snctifrocampuscacoal2021.412830.

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