For most people, Jeroen Bosch is the devil painter. A fascinating figure, he was able to translate the fears of medieval people into dark, hellish scenes and worlds full
of bizarre, terrifying monsters. This image served as inspiration for various authors to write haunting novels. But is this right?
Research is providing increasing proof that Bosch held a very different position in society than that of a subversive artist who, in the seclusion of his studio, entrusted his bizarre inventions to panel. What is now emerging is that the artist was completely interwoven with his surroundings and culture, which to us seems to be made of paradoxes. A deep, often-superstitious piety with evocative, collective rituals existed alongside indulgence in passions, a great desire for knowledge and learning and an exuberant lifestyle. We are referring here to the elite, the high nobility, the clients of Jeroen Bosch, who in turn was closely interlaced with the urbane bourgeoisie.
Convivial nobles and townspeople, lavish tournaments, excessive celebrations, religious fanaticism, demonic possession, popular piety, dreams, mysticism and medieval ‘selfhelp literature’ are all included around the central theme of the book: Bosch’s painting Tuin der Lusten (Garden of Delights).
In a richly illustrated search for the meaning and contemporary function of Jeroen Bosch’s magnum opus, a portrait of the the artist and his surroundings comes to life.
