Hieronymus Bosch was a Dutch/Netherlandish 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 illustrations of religious concepts and narratives. Within his lifetime his work was collected in the Netherlands, Austria, and Spain, and widely copied, especially his macabre and nightmarish depictions of hell.
Pieter Bruegelthe Elder was the most significant artist of Dutch and Flemish Renaissance painting, a painter and printmaker from Brabant, known for his landscapes and peasant scenes ; he was a pioneer in making both types of subject the focus in large paintings.
Early Netherlandish painting is the work of artists, sometimes known as the Flemish Primitives, active in the Burgundian and Habsburg Netherlands during the 15th- and 16th-century Northern Renaissance, especially in the flourishing cities of Bruges, Ghent, Mechelen, Leuven, Tournai and Brussels, all in present-day Belgium. The period begins approximately with Robert Campin and Jan van Eyck in the 1420s and lasts at least until the death of Gerard David in 1523, although many scholars extend it to the start of the Dutch Revolt in 1566 or 1568. Early Netherlandish painting coincides with the Early and High Italian Renaissance but the early period is seen as an independent artistic evolution, separate from the Renaissance humanism that characterised developments in Italy, although beginning in the 1490s as increasing numbers of Netherlandish and other Northern painters traveled to Italy, Renaissance ideals and painting styles were incorporated into northern painting. As a result, Early Netherlandish painters are often categorised as belonging to both the Northern Renaissance and the Late or International Gothic.
Ship of Fools is a painting by Hieronymus Bosch, now on display in the Musée du Louvre, Paris. The surviving painting is a fragment of a triptych that was cut into several parts. The Ship of Fools was painted on one of the wings of the altarpiece, and is about two thirds of its original length. The bottom third of the panel belongs to Yale University Art Gallery and is exhibited under the title Allegory of Gluttony. The wing on the other side, which has more or less retained its full length, is the Death and the Miser, now in the National Gallery of Art, Washington, D.C.. The two panels together would have represented the two extremes of prodigality and miserliness, condemning and caricaturing both. The Wayfarer was painted on the right panel rear of the triptych. The central panel, if existed, is unknown.
Sebastiano del Piombo was an Italian painter of the High Renaissance and early Mannerist periods famous as the only major artist of the period to combine the colouring of the Venetian school in which he was trained with the monumental forms of the Roman school. He belongs both to the painting school of his native city, Venice, where he made significant contributions before he left for Rome in 1511, and that of Rome, where he stayed for the rest of his life, and whose style he thoroughly adopted.
The Garden of Earthly Delights is the modern title given to a triptych oil painting on oak panel painted by the Early Netherlandish master Hieronymus Bosch, between 1490 and 1510, when Bosch was between 40 and 60 years old. It has been housed in the Museo del Prado in Madrid since the year 1939.
The Wallraf–Richartz Museum is one of the three major museums in Cologne, Germany. It houses an art gallery with a collection of fine art from the medieval period to the early twentieth century.
Joachim Patinir, also called Patenier, was a Flemish Renaissance painter of history and landscape subjects. He was Flemish, from the area of modern Wallonia, but worked in Antwerp, then the centre of the art market in the Low Countries. Patinir was a pioneer of landscape as an independent genre and he was the first Flemish painter to regard himself primarily as a landscape painter. He effectively invented the world landscape, a distinct style of panoramic northern Renaissance landscapes which is Patinir's important contribution to Western art.
The Seven Deadly Sins and the Four Last Things is a painting attributed to Hieronymus Bosch or to a follower of his, completed around 1500 or later. Since 1898 its authenticity has been questioned several times. In 2015 the Bosch Research Conservation Project claimed it to be by a follower, but scholars at the Prado, where the painting hangs, dismissed this argument. The painting is oil on wooden panels and is presented in a series of circular images.
Girolamo Savoldo, also called Girolamo da Brescia was an Italian High Renaissance painter active mostly in Venice, although he also worked in other cities in northern Italy. He is noted for his subtle use of color and chiaroscuro, and the sober realism of his works, which are mostly religious subjects, with a few portraits, which are given interest by their accessories or settings, "some even look like extracts from larger narratives".
Dutch and Flemish Renaissance painting represents the 16th-century response to Italian Renaissance art in the Low Countries. These artists, who span from the Antwerp Mannerists and Hieronymus Bosch at the start of the 16th century to the late Northern Mannerists such as Hendrik Goltzius and Joachim Wtewael at the end, drew on both the recent innovations of Italian painting and the local traditions of the Early Netherlandish artists. Antwerp was the most important artistic centre in the region. Many artists worked for European courts, including Bosch, whose fantastic painted images left a long legacy. Jan Mabuse, Maarten van Heemskerck and Frans Floris were all instrumental in adopting Italian models and incorporating them into their own artistic language. Pieter Brueghel the Elder, with Bosch the only artist from the period to remain widely familiar, may seem atypical, but in fact his many innovations drew on the fertile artistic scene in Antwerp.
Ecce Homo is a painting of the episode in the Passion of Jesus by the Early Netherlandish painter Hieronymus Bosch, painted between 1475 - 1485. The original version, with a provenance in collections in Ghent, is in the Städel Museum in Frankfurt; a copy is held the Museum of Fine Arts in Boston. The painting takes its title from the Latin words Ecce Homo, "Behold the Man" spoken by the Roman Prefect Pontius Pilate when Jesus is paraded before a baying, angry mob in Jerusalem before he is sentenced to be crucified.
The Adoration of the Magi or The Epiphany is a triptych oil painting on wood panel by the Netherlandish artist Hieronymus Bosch, executed around 1485–1500. It is housed in the Museo del Prado of Madrid, Spain.
The Marriage Feast At Cana is a painting that was until recently attributed to Hieronymus Bosch. The painting resides at the Museum Boijmans Van Beuningen in Rotterdam, the Netherlands. Several copies exist of this picture. Until recently the copy in Boijmans has been considered the original. Dendrochronological analysis, however, has now proven conclusively that it cannot have been painted earlier than 1550.
Christ Carrying the Cross is a painting attributed to a follower of Hieronymus Bosch. It was painted in the early 16th century, presumably between 1500 and 1535. The work is housed in the Museum of Fine Arts in Ghent, Belgium.
The Temptation of St. Anthony is a painting of disputed authorship, attributed to either Hieronymus Bosch or a follower. It is now in the Museo del Prado in Madrid.
Jost de Negker was a cutter of woodcuts and also a printer and publisher of prints during the early 16th century, mostly in Augsburg, Germany. He was a leading "formschneider" or blockcutter of his day, but always to the design of an artist. He is "closely tied to the evolution of the fine woodcut in Northern Europe". For Adam von Bartsch, although he did not usually design or draw, the quality of his work, along with that of Hans Lützelburger and Hieronymus Andreae, was such that he should be considered as an artist. Some prints where the designer is unknown are described as by de Negker, but it is assumed there was an artist who drew the design, although it has been suggested that de Negker might fill in a landscape background to a drawing of a figure.
Jan Mandijn or Jan Mandyn was a Dutch Renaissance painter, who worked in Antwerp after 1530.
Proto-Surrealism is a term used for Surrealism avant-la-lettre. It is the study of various forms of art, literature, and other mediums that correspond to, reference, or share similarities to the 20th-century art movement known as Surrealism. This definition is considered a controversial topic, with many debating the suitability of the term surrealism to describe these bodies of work and instead opting to use the term Fantastique or Fantastic Art.
