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Journal articles on the topic 'Hieronymus Bosch'

Author: Grafiati
Published: 4 June 2021
Last updated: 25 January 2023

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1

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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2

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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3

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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4

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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5

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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6

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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7

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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9

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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10

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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11

Wormer, Eberhard J. "Die Himmel und Höllen des Hieronymus Bosch." ästhetische dermatologie & kosmetologie 7, no. 5 (October 2015): 44–45. http://dx.doi.org/10.1007/s12634-015-0981-5.

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12

Peterson, Daniel C. "Editor’s Introduction Triptych (Inspired by Hieronymus Bosch)." FARMS Review of Books 8 (1996), no. 1 (January 1, 1996): v—xlv. http://dx.doi.org/10.2307/44792689.

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13

Kisiel, Przemysław. "“The Wayfarer” (“The Pedlar”) by Hieronymus Bosch as an Archetypal Image of an ‘Other-Stranger’." Przegląd Socjologii Jakościowej 16, no. 2 (May 31, 2020): 46–61. http://dx.doi.org/10.18778/1733-8069.16.2.04.

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One of the most important contemporary experiences of European societies is undoubtedly the migration crisis. The resulting social fears of ‘strangers,’ which have been activated, show how important the archetypical ‘other-stranger’ pattern still is, and that it can be treated as an example of an ‘anthropological constant.’ The aim of the article is to try to look at the painting “The Wayfarer” by Hieronymus Bosch as an illustration of the archetypical ‘other-stranger’ pattern. It seems that such a reading of this work, rich in symbolic content, on the one hand perfectly justifies the thesis of the archetypical sources of contemporary attitudes towards ‘strangers’ and, on the other hand, allows one to better understand and explain the current reactions and behaviors of Europeans. This becomes particularly evident when juxtaposing the image of Hieronymus Bosch with the contemporary media images of migrants.
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14

Brekka, Pamela Merrill. "Hieronymus Bosch: Visions and Nightmares by Nils Büttner." Comitatus: A Journal of Medieval and Renaissance Studies 48, no. 1 (2017): 194–96. http://dx.doi.org/10.1353/cjm.2017.0036.

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15

Buhle, Paul. "Hieronymus Bosch (aka Jeroen van Aken), Eco-Revolutionary." Capitalism Nature Socialism 13, no. 4 (December 2002): 151–54. http://dx.doi.org/10.1080/10455750208565508.

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16

Janek, Anna. "Między zamknięciem i otwarciem… Interpretacja wiersza Tadeusza Różewicza „Syn marnotrawny (z Hieronima Boscha)”." Bibliotekarz Podlaski Ogólnopolskie Naukowe Pismo Bibliotekoznawcze i Bibliologiczne 53, no. 4 (December 23, 2021): 47–63. http://dx.doi.org/10.36770/bp.644.

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The aim of the article is to interpret a poem by Tadeusz Różewicz, Syn marnotrawny (z obrazu Hieronima Boscha) [The Prodigal Son (from the painting of Hieronymus Bosch)], from the volume Srebrny kłos [The Silver Ear of Corn] (1955). The poem is subjected to intertextual reading, which included strongly sketched autobiographical allusions, ecstatic descriptions of Bosch’s paintings and contextual references to the biblical parable of the prodigal son. Confronting the situation of the lyrical hero with the theological interpretation of the parable and reaching for the concept of reading the play proposed by Mieke Bal, ultimately reveals the kerygmatic meaning of the piece.
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Martín, Raquel Segovia. "El cuerpo humano como símbolo en el Jardín de las delicias: el tríptico de el bosco x la película de Carlos Saura." Verba Hispanica 6, no. 1 (December 31, 1996): 129–44. http://dx.doi.org/10.4312/vh.6.1.129-144.

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Cuando en España se menciona El jardín de las delicias, lo primero que a uno le viene a la mente es el tríptico que pintó el holandes Hieronymus Bosch, más conocido como El Bosco, en el siglo XVI. Pero además de este cuadro, que actualmente se encuentra en el Museo del Prado de Madrid, hay otras dos obras con el mismo título en este país: una es la pieza literaria de Francisco Ayala titulada El jardín de las delicias. El tiempo y yo y la otra, una película del realizador Carlos Saura, que es en la que voy a centrar precisamente mi interés a fin de estudiar las conexiones que existen entre ella y el cuadro pintado por El Bosco.
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18

Milowicki, Cari, Nick Michael, Rylan Lee, and Jack Corbett. "Film." Film Matters 10, no. 2 (September 1, 2019): 75–83. http://dx.doi.org/10.1386/fm_00011_4.

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Hieronymus Bosch, Touched by the Devil (2015)NetherlandsDirector Pieter van Huystee Runtime 86 minutesIn Jackson Heights (2015)USADirector Frederick Wiseman Runtime 190 minutesYours in Sisterhood (2018)USADirector Irene Lusztig Runtime 101 minutesThey Shall Not Grow Old (2018)UK/New ZealandDirector Peter Jackson Runtime 99 minutesParagraph 175 (2000)USADirectors Rob Epstein and Jeffrey Friedman Runtime 81 minutes
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19

Kanaly, Cal C., and Thomas B. Slater. "What dreams may come: an existential journey with Hieronymus Bosch." Arts in Psychotherapy 30, no. 1 (January 2003): 35–42. http://dx.doi.org/10.1016/s0197-4556(02)00236-8.

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20

Dos Santos, Mateus, and Sandra Melo. "Uma análise homológica da composição nas obras de Hieronymus Bosch." Revista Geometria Gráfica 6, no. 1 (December 7, 2022): 119. http://dx.doi.org/10.51359/2595-0797.2022.256828.

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A Geometria Projetiva tem sua origem com os princípios aplicados por pintores do Renascimento, conceitos que foram tomando mais forma com os estudos de Desargues e Poncelet. Sabendo-se disso, este trabalho aplica os conceitos advindos da Geometria Projetiva, em especial da Homologia, em três pinturas de Hieronymus Bosch, pintor de grande relevância no Renascimento Nórdico que trabalhava com a arte Gótica e cujas obras serviram de inspiração para o posterior Surrealismo. O objetivo do trabalho, é verificar a presença dos elementos da Homologia como base para a composição nas pinturas do artista. De acordo com a pesquisa bibliográfica e com a análise documental, foi realizado um levantamento de artigos publicados nesta mesma linha de utilização da Homologia presente em obras e dos aspectos de análises estéticas de pinturas. A partir dos dados levantados, selecionamos as obras que apresentamos aqui fazendo a análise homológica das áreas de composição das mesmas. Com base no estudo foram feitas reflexões de caráter estético-histórico das pinturas: “A adoração dos Reis Magos”, “São João Evangelista na Ilha de Patmos” e “O Jardim das Delícias Terrenas”. Como resultados, evidenciamos a presença dos elementos da Homologia na composição de espaços o que promoveu certo equilíbrio das obras.
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21

Gerstein, Anna. "THE WORLD BETWEEN PARADISE AND HELL: “FEAST OF THE THREE KINGS” BY H. BOSCH (Rev.: Maizuls M.R. Between Christ and Antichrist: “The adoration of the Magi” by H. Bosch. M.: Alpina non-fiction, 2021. 238 p.)." Odysseus. Man in History 29, no. 1 (September 20, 2021): 218–22. http://dx.doi.org/10.32608/1607-6184-2021-29-1-218-222.

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The review pays special attention to the features of early Modern spiritual world and ideas of the Other by looking at the figures depicted on the triptych by Hieronymus Bosch. Paintings with biblical plots can give us information not only on the religious culture, but also on the secular world where the painter was living, displaying new discoveries of science, new lands and societies previously unknown to Europeans.
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22

Souza, Maria Irene Pellegrino de Oliveira. "Prazer e dor: possibilidades presentes em Hieronymus Bosch e Bertrand Vannier." Discursos Fotograficos 1, no. 1 (July 15, 2005): 183. http://dx.doi.org/10.5433/1984-7939.2005v1n1p183.

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23

Metlić, Dijana. "Stanley Kubrick and Hieronymus Bosch: In The Garden of Earthly Delights." Essais, Hors-série 4 (July 1, 2018): 105–23. http://dx.doi.org/10.4000/essais.633.

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24

Wirz-Ridolfi, Andreas. "HIERONYMUS BOSCH: DIE OHREN IM GARTEN DER LÜSTE. KETZER, DROGENSÜCHTIGER, EINGEWEIHTER?" Akupunktur & Aurikulomedizin 41, no. 2 (June 2015): 6–7. http://dx.doi.org/10.1007/s15009-015-5327-y.

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25

Limon, Jerzy, and David Malcolm. "The seven deadly sins: Images of pride and transience." Beyond Philology An International Journal of Linguistics, Literary Studies and English Language Teaching, no. 17(2) (October 20, 2020): 159–95. http://dx.doi.org/10.26881/bp.2020.2.07.

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The aim of this paper is to look at the works of William Shakespeare and the seven deadly sins from the perspective of painting. The seven deadly sins include pride, greed, wrath, envy, lust, gluttony and sloth. The paper presents, among others, an analysis of the painting by Hieronymus Bosch with that very title – The Seven Deadly Things and the Four Last Things, with reference to such works by Shakespeare as A Comedy of Errors, Richard III or Twelfth Night.
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26

Hartau, Johannes. "Bosch and the Jews." Anales del Instituto de Investigaciones Estéticas 27, no. 86 (August 7, 2012): 29. http://dx.doi.org/10.22201/iie.18703062e.2005.86.2188.

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El Nuevo tríptico de Hieronymus Bosch pide una revisión en su interpretación: representa escenas de sensualidad y de cupido, es decir, de esferas con las cuales los judíos estaban especialmente vinculados, en su mayoría de una forma despreciativa. El caminante (Rotterdam), en el recuadro externo, transmite una imagen de trueque que se consideraba típica del judío errante, así como la imagen del peregrino de la vida, de pie entre vita mundi y el castigo eterno. La imagen correspondiente del Nuevo tríptico, el Carro de heno en Madrid, presenta a un buhonero que aparece en un mundo que existe sólo en el placer del dinero, y que no se da cuenta de que esto lo conducirá al infierno. El heno simboliza el interés ascendente que entre los judíos ha tenido el privilegio (y, como ha resultado, el destino) de recolectar. El ensayo discute la pregunta de si las Bodas de Cana (Rotterdam) pudiera ser de hecho la mitad faltante del cuadro Nuevo tríptico. Aquí de nuevo las ideas judías y cristianas están fusionadas. En el pueblo natal de Bosch, 's-Hertogenbosch, el burgués y el rey visitante platican con la gente judía, a la que se espera convertir al cristianismo. En ambos trípticos (el nuevo y el de Madrid), Bosch parece expresar la idea de abundancia. En los dos hay buhoneros que tienen que elegir entre el mundo del pecado y el de la virtud. Parecería que algunos de los símbolos en la obra de Bosch se refieren al miedo cristiano, a la aberración herética y a la seducción de los placeres mundanos, para lo cual el mundo judío sirve como ejemplo de advertencia.
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Ayub, João Paulo. "Viagens noturnas: as rotas da exclusão em Lasar Segall e Hieronymus Bosch." Aletria: Revista de Estudos de Literatura 25, no. 1 (November 12, 2015): 183–94. http://dx.doi.org/10.17851/2317-2096.25.1.183-194.

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A Nave dos loucos (1503-1504), de Hieronymus Bosch, e o Navio de Emigrantes (1939-1941), de Lasar Segall, registram de modo singular a fragilidade que sustenta a humana condição dos condenados ao não-lugar. As obras encontram no tema da morte a rica possibilidade de diálogo e exploração daquilo que Michel Foucault identificou, na História da Loucura, como “jogos de exclusão”. Neste trabalho, a leitura e interpretação dos quadros citados destacará a operação sub-reptícia que engendra a partilha objeto/abjeto, purificação/exclusão, sob a qual os sujeitos excluídos – seja na figura do louco, do leproso, do emigrante ou do refugiado – experimentam a morte.
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Carnariu, Radu. "Fear and Transgression in the Imaginary of Hieronymus Bosch and Francisco Goya." Anastasis. Research in Medieval Culture and Art 9, no. 1 (May 29, 2022): 139–48. http://dx.doi.org/10.35218/armca.2022.1.09.

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Hamid Ali, Israa, and Bushra Salman Kazem. "Surrealism in the Hieronymus Bush Paintings." Dirasat: Human and Social Sciences 49, no. 1 (August 2, 2022): 537–53. http://dx.doi.org/10.35516/hum.v49i1.1679.

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The first chapter of this research deals with the problem that the reseach addresses , its importance, and the need for it. The chapter also included the purpose of the research (the discovery of the mechanism of the work of Surrealism in the drawings of Hieronymus Bosch), within the period (1480-1516). In the relevant sources, the researchers concluded the first chapter by specifying the terms in the title of the research. The second chapter includes the theoretical framework and the previous studies. The theoretical framework consists of two sections dealing with the first topic: The Conceptual Dimensions of Surrealism, as well as the Total Concepts on which Surrealism was based. While the third chapter included research procedures, including the research community of (49), the nature of the selection of the research sample (4) plates, the procedures that were taken in the preparation of the research tool as well as the analysis of the research sample. The fourth chapter included the results of the research, conclusions, recommendations and proposals, and the results of the research: 1- Surrealism in Bush (Bush) achieved a large percentage after revealed many approaches in style and indications and content. 2- Approaches (Bush) in his Surrealist approach of the style (Salvador Dali). Both of them employ real things, simulated or after the change in structure as the composition and variance, as well as the approach to the quality of the subject. 3- The imagination has an import ant role and space in the art of (Bush) because he was able to present subjects in unfamiliar scenes in tangible reality
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30

Ristić, Marija. "Visual elements of the Serbian national identity in the comic strip Hieronymus Bosch." Kultura, no. 165 (2019): 106–20. http://dx.doi.org/10.5937/kultura1965106r.

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31

Baron, Marta. "Anaesthetic gardens. On Metaphysics by Lech Majewski." Journal of Education Culture and Society 1, no. 1 (January 17, 2020): 49–55. http://dx.doi.org/10.15503/jecs20101.49.55.

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Interpretation of Metaphisics – the novel written by Lech Majewski, is the subject matter of theoretical, aesthetic and antropological considerations. Synthesis of arts: literature, film, painting and theatre, which occur in the novel, opens a perspective of intertextuality and provokes questions about ekphrasis, varied materials, ways of experience mediated by dispositives and reflections on humans among other problems. The crucial point in both: Majewski’s novel and this dissertation, is a triptych painted by Hieronymus Bosch – The Garden of Earthly Delight, which gradually annexes the featured world – becomes a basic figure in trying to show, how the aesthetization of reality brings Wolfgang Welsch’s cahegory of an(a)esthetics.
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32

Macedo, Lurdes. "Sobre o “Jardim das Delícias” como modelo de análise dos processos de comunicação intercultural." Comunicação e Sociedade 31 (June 29, 2017): 225–38. http://dx.doi.org/10.17231/comsoc.31(2017).2614.

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A observação do tríptico “Jardim das Delícias”, de Hieronymus Bosch constitui o ponto de partida para um curto ensaio sobre a possível interpretação desta obra por parte do seu último comprador, Filipe II de Espanha. Por sua vez, este ensaio conduz à proposta de um modelo, baseado em três categorias de análise, para a interpretação crítica do percurso global que a humanidade tem vindo a trilhar desde o início das grandes navegações intercontinentais, inicialmente levadas a cabo por portugueses e espanhóis. O modelo proposto pretende constituir um contributo para a desfragmentação da memória de um longo processo marcado pela tensão entre forças hegemónicas e dinâmicas de interculturalidade.
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33

Olivier, Florence. "The Age of Time according to Carlos Fuentes." PMLA/Publications of the Modern Language Association of America 128, no. 3 (May 2013): 711–13. http://dx.doi.org/10.1632/s0030812900123004.

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Born on 11 November 1928, Carlos Fuentes on 15 May 2012 met on Parnassus the princes of word and vision that one of his deceased characters dreamed of in El naranjo (1993; The Orange Tree). If, as he wrote in Constancia y otras novelas para vírgenes (1990; “Constancia” and Other Stories for Virgins), readers are the ghosts of writers (296), the author of Terra nostra (1975) was, for his part, a ghost of Cervantes and disciple of Erasmus who rewrote La Celestina, Don Quixote, the successive Don Juans of Tirso de Molina, Zorrilla, and Mozart, the paintings of Hieronymus Bosch and Luca Signorelli, the gnostic gospels, and the texts of the Jewish mystical tradition.
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Pinson, Yona. "Hieronymus Bosch: Homo viator at a Crossroads: A New Reading of the Rotterdam tondo." Artibus et Historiae 26, no. 52 (January 1, 2005): 57. http://dx.doi.org/10.2307/20067097.

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35

Sullivan, Margaret A. "The timely art of Hieronymus Bosch: the left panel of The Garden of Earthly Delights." Oud Holland - Quarterly for Dutch Art History 127, no. 4 (November 11, 2014): 165–94. http://dx.doi.org/10.1163/18750176-90000198.

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36

Salcman, Michael. "The Cure of Folly or The Operation for the Stone by Hieronymus Bosch (c. 1450–1516)." Neurosurgery 59, no. 4 (October 1, 2006): 935–37. http://dx.doi.org/10.1227/01.neu.0000242109.97950.9f.

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37

Melnikova-Grigorjeva, Jelena, and Olga Bogdanova. "An owl and a mirror: On Bosch’s visual motif’s meaning." Sign Systems Studies 38, no. 1/4 (December 1, 2010): 210–41. http://dx.doi.org/10.12697/sss.2010.38.1-4.08.

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Our main goal in this paper is to study one Hieronymus Bosch’s iconographic motif, an owl, considering the iconography, production of meaning and connotations. Pursuant to the comparative analysis of the variants of the formal model we intend to ascertain the meaning of Bosch’s “owl” motif. We supplement its pure visual legend throughout European art history with mythological and symbolic (mainly verbal) legend. Methodologically, we base the vast range of interpretations on the school of history of ideas (Aby Warburg, Ernst Gombrich, Erwin Panofsky, Francis Yates, Carlo Ginzburg) and the Tartu-Moscow school of semiotics of culture and text analysis. The article concludes that the “owl” motif, including in the works of Bosch, conveys the semantic aura of the “blind sight” (“blind foresight”). This ideological concept is in turn included into the archaic concept of mutual communication between the worlds carried out by a mythological observer — shaman, trickster.
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38

Dixon, Thomas. "What is the History of Anger a History of?" Emotions: History, Culture, Society 4, no. 1 (September 14, 2020): 1–34. http://dx.doi.org/10.1163/2208522x-02010074.

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Abstract This essay uses the history of emotions to make two arguments – one destructive and one constructive. It uses examples from intellectual and cultural history to undermine the idea that the modern English term ‘anger’ refers either to a clearly defined mental state or to a coherent emotional concept. At the same time, it also questions the diagnosis of the present as an ‘age of anger’. Constructively, the essay uses the intellectual and cultural ancestries of modern ‘anger’ as a case-study in a distinctive approach to the history of emotions. With reference to works by linguists and anthropologists, to ancient philosophical and literary texts, and to some of the most influential visual representations of the irate body and the furious face, from Hieronymus Bosch to Charles Darwin, the essay explains and defends a pluralist and interdisciplinary approach, arguing that ‘anger’ is a modern English word without a stable transhistorical referent, and proposes the method of genealogical anatomy as a way to avoid the twin dangers of anachronism and essentialism in the history of emotions.
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Caloian, Cezarina Florina. "The Hybrid Character - between the Representations of the Middle Ages and Today’s Art." Anastasis. Research in Medieval Culture and Art 7, no. 1 (May 29, 2020): 125–36. http://dx.doi.org/10.35218/armca.2020.1.07.

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This paper is a study of the fantastic character throughout the history of human civilization. This type of character has evolved from the hybrid creatures playing a divine role in the art of Assyro-Babylonian civilizations and of Ancient Egypt, to the monstrous characters of the Middle Ages which served as substitutes for sin and the force of evil, visible in the entrelacs of illuminated manuscripts or the gargoyles guarding the walls of Gothic cathedrals, to the characters of non-human origin in children’s book illustrations, and up to the characters found in fantasy films or today’s hybrids, who are in a perfect relationship with technological and cultural evolution. The paper discusses some original visions and working methods, from the slightly humorous portraits signed by Arcimboldo, the hybridization of animal kingdoms, in a much more tragic register, in the works of Hieronymus Bosch or the fantastic character used as a weapon of political and moral satire in the works of Goya and Grandville, to the unexpected, occult and mysterious visions of Ernst Fuchs’ creations or the imaginary universe populated by hybrid beings, of ‘extra-terrestrial origin, found in the works of HR Giger.
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40

Mladenović, Jelena S. "SUSRET STVARALAČKIH IMAGINACIJA JERONIMA BOŠA I NOVICE TADIĆA." Nasledje, Kragujevac XVIII, no. 50 (2021): 405–22. http://dx.doi.org/10.46793/naskg2150.405m.

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The famous Netherlandish painter Hieronymus Bosch (1450 – 1516) and the contemporary Serbian poet Novica Tadić (1949 – 2011) are related through the most significant characteristics of their works – the presence of the creative imagination which made similar apocalyptic scenes and diabolical characters both on canvas and on paper. Using transmedial theories, we can see the transmission of the painting techniques in shaping of Tadic’s descriptive narratives. This painter whose work belongs to the High Renaissance and Mannerism made, with his grotesquely shaped half-human, half-animal and half-demon beings, an arc from “the autumn of the Middle Ages” and the upcoming Renaissance to the Baroque. Five centuries later, his metaphors, inter- preted in many ways, receive an epitome in the poetic images of Tadić’s hellish bestiary, contin- uing an intriguing dialogue with religion. Guided by Guy Scarpetta’s theoretical assumption of “the return of the Baroque”, in this paper we will try to show that those two artists are more associated with the tendency to represent the reality as an illusion, and to create an impression of unreality of the real world, than with the similarity of their images.
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Pułka, Leszek. "Heretyk Jeroen i jego ekrany. Refleksje o pewnej wystawie multimedialnej." Studia Filmoznawcze 40 (June 27, 2019): 219–35. http://dx.doi.org/10.19195/0860-116x.40.18.

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Heretic Jeroen and his screens The article presents the multimedia binding of the many years’ project “Jheronimus Bosch 500”, which led — in the jubilee year — to developing the monographic exhibition of Hieronymus Bosch’s works in Hertogenbosch 2016. According to the author of the article Internet seems to be a useful “megaarchives” for works of art and for some important events organized because of them. It is useful especially for collecting and exposing film documentation of interpretation of the works, their con-servation and creating marketing strategies which make the artist a so-called glocalbrand hero. The documentation of some film events of the project in Hertogenbosch is presented on the page https://www.youtube.com/channel/UCh9n1lmat4buzWzjqJaDfMA/videos. We can find there a collection of documents and quasi-documents, some films of didactic and persuasive cinema, but also some marketing products, of which role is to cause selling the constellation of events of the project. Avoiding the rating of the substantive value of the mentioned objects, the author of the article shows that the portals YouTube or Vimeo are sometimes the only, and sometimes not too orderly, open film archive of associating of people with art.
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Nuttall, Paula. "Jheronimus Bosch - Visions of Genius ('s-Hertogenbosch, Noordbrabants Museum, 13 February-8 May 2016). Catalogue Hieronymus Bosch - Visions of Genius, edited by Matthias Ilsink and Jos Koldeweij. Brussels: Mercatorfonds and 's Hertogenbosch: Noordbrabants." Renaissance Studies 31, no. 5 (January 5, 2017): 799–808. http://dx.doi.org/10.1111/rest.12273.

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Zabrodina, Elena Al'bertovna. "“Sacred Theology” of Nicholas of Cusa in the portraits and altar paintings of the artists of the Early Netherlandish painting." Человек и культура, no. 4 (April 2020): 21–32. http://dx.doi.org/10.25136/2409-8744.2020.4.33349.

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The subject of this research is the processes that unfolded in the spiritual sphere of the Netherlandish society of the XV century, which can be assessed by the treatises of the prominent philosopher and figure of the Catholic Church Nicholas of Cusa (1401-1464), as well as by the images, scenes, artistic techniques used by Netherlandish artists of that time such brothers van Eyck, Rogier van Weyden, Hans Memling, Petrus Christus, Hieronymus Bosch, Robert Kampin, and others. Main attention is given to the comparison of the views of Nicholas of Cusa, as well as the manner and ideological program that can be seen in the work of the XV century artists. The scientific novelty consists in demonstration of just how the views of Nicholas of Cusa correlate to the worldview of the people of the XV century – transitional period from the Medieval Era to the Modern Age. Perceptions of the Netherlanders of that time of the world and people’s place within it, of divine predestination and everyday life are reflected in the orders for a new type of altar compositions and portraits. The conducted analysis uses specific examples to reveal the theme of commonness of the worldview in the examined chronological period. Comparison of the paintings and thoughts of Nicholas of Cusa demonstrate the commonness of views that reflect the transformational era in the history of art.
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Ortlieb, Stefan A., Uwe C. Fischer, and Claus-Christian Carbon. "Enquiry into the Origin of Our Ideas of the Sublime and Beautiful: Is there a Male Gaze in Empirical Aesthetics?" Art and Perception 4, no. 3 (September 16, 2016): 205–24. http://dx.doi.org/10.1163/22134913-00002051.

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In his ground-breaking Philosophical Enquiry into the Origin of Our Ideas of the Sublime and Beautiful, Edmund Burke (1757) presented a comprehensive aesthetic theory based on two types of aesthetic appreciation: the beautiful and the sublime. While beauty inspires us with tender feelings of affection, a thrill of delightful horror attracts us to the sublime. According to Burke these ideas originate in a drive for affiliation (beautiful) and a drive for self-preservation (sublime). He also claims that the sublime is generally the more powerful aesthetic experience. A synopsis of literature on gender differences in aesthetic preferences, personality traits, and social motivation suggests, however, that on average women might be less susceptible to the Burkeian sublime than men. We tested this hypothesis empirically using sixty picture details from a triptych by Hieronymus Bosch. One hundred and fifty participants rated these stimuli in terms of threat (respectively safety) and liking. Besides, they completed standardized scales for state and trait anxiety as well as for state and trait depression. We found a strong effect for gender: on average, safety and liking were more closely related for female than for male participants. In the light of these findings we state that Burke’s concepts of the beautiful and the sublime might in fact be confounded with gender-related aesthetic preferences and that his proclivity to the sublime could reflect a male gaze on aesthetics. Finally, we discuss possible indicators for ‘Burke’s fallacy’ in empirical aesthetics today.
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Jucan, Tudor. "The illusion of “The Garden”. A reflection on the works and ideas of the painter Hieronymus Bosch, through the perspective of present day thinkers and concepts." Anastasis. Research in Medieval Culture and Art 8, no. 1 (May 29, 2021): 223–32. http://dx.doi.org/10.35218/armca.2021.1.11.

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Wolfe, Cary. "Human, All Too Human: “Animal Studies” and the Humanities." PMLA/Publications of the Modern Language Association of America 124, no. 2 (March 2009): 564–75. http://dx.doi.org/10.1632/pmla.2009.124.2.564.

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Trying to give an overview of the burgeoning area known as animal studies is, if you'll permit me the expression, a bit like herding cats. My recourse to that analogy is meant to suggest that “the animal,” when you think about it, is everywhere (including in the metaphors, similes, proverbs, and narratives we have relied on for centuries—millennia, even). Teach a course or write an article on the subject, and well-intentioned suggestions about interesting material pour in from all quarters. In my field alone, there's not just, say, the starring role of bear, deer, and dog at the heart of William Faulkner's Go Down, Moses and the futility of trying to imagine Ernest Hemingway without his fraternity of bulls, lions, and fish or Marianne Moore without her menagerie of pangolins and jellyfish. There's also King Kong, Babe, Charlotte's Web, Seabiscuit, The Silence of the Lambs, The Horse Whisperer, and The Fly. There's the art of Damien Hirst, Joseph Beuys, Sue Coe, William Wegman, Bill Viola, Carolee Schneeman, Lynn Randolph, and Patricia Piccinini. And all those bird poems, from Percy Shelley's skylark and John Keats's nightingale to Edgar Allan Poe's raven and Wallace Stevens's blackbird. As any medievalist or early modern scholar will tell you, the question of the animal assumes, if anything, even more centrality in earlier periods; indeed, recent and emerging scholarship suggests a picture in which the idea of the animal that we have inherited from the Enlightenment and thinkers such as Descartes and Kant is better seen as marking a brief period (if the formative one for our prevailing intellectual, political, and juridical institutions) bookended by a pre- and posthumanism that think the human/animal distinction quite otherwise. So there's also William Hogarth and Hieronymus Bosch, The Faerie Queene and Beowulf. And, of course, there is the central place of the animal in non-Western literature and culture, written and oral, which would require another essay altogether.
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Moxey, Keith. "Reindert Leonard Falkenburg. The Land of Unlikeness: Hieronymus Bosch, The Garden of Earthly Delights. Studies in Netherlandish Art and Cultural History 10. Zwolle: WBooks, 2011. 320 pp. €69.95. ISBN: 978–904007767–8." Renaissance Quarterly 65, no. 4 (2012): 1221–22. http://dx.doi.org/10.1086/669382.

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de Bruyn, Eric. "Reindert Falkenburg, The Land of Unlikeness. Hieronymus Bosch, The Garden of Earthly Delights. Studies in Netherlandish Art and Cultural History – volume X, s.l., 2011, 320 pages. ISBN 978 90 400 7767 8." Oud Holland 126, no. 4 (2013): 215–20. http://dx.doi.org/10.1163/18750176-90000039.

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Falkenburg, Reindert. "Fritz Koreny, Gabriele Bartz, and Erwin Pokorny, eds. Hieronymus Bosch: Die Zeichnungen: Werkstat und Nachfolge bis zum Ende des 16. Jahrhunderts, Catalogue raisonné. Turnhout: Brepols, 2012. 456 pp. €125. ISBN: 978–2–503–54208–9." Renaissance Quarterly 66, no. 2 (2013): 604–6. http://dx.doi.org/10.1086/671602.

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Nelson, R. J. "Hieronymous Bosch y el Otono de la Edad Media." Hispania 70, no. 3 (September 1987): 422. http://dx.doi.org/10.2307/343394.

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