Art and Art History Collection (Saskia)
The Art and Art History Collection from Saskia Ltd., Cultural Documentation features a wide range of digital images with an emphasis on the history of Western art. There are 3,645 images in this collection. Image sets include: The Dresden Collection, Brueghel and Rubens, Ancient Greek Art (Architecture and Sculpture), Ancient Art (Minoan and Roman), Roman Art, Michelangelo, Italian Renaissance, Realism, Impressionism, Post-Impressionism, and Contemporary Architecture. Images from art history textbooks include: Gardner, Expanded Gardner, Stokstad, Gilbert, Hartt, Cunningham, and Reich.
Access note: Only thumbnail images and descriptive information are available to non-USF users. Full access to this collection is available only to authorized users on the USF network on campus or via VPN. For more information or to report technical issues please contact us.
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Doge's Palace (left) and Libreria Vecchia (right)
Unknown
Overall view of both palaces toward Lagoon from Terrace of Duomo
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A Meat Stall with the Holy Family Giving Alms (detail) Butcher's Stall
Unknown
Pieter Aertsen was one of the first artists to paint "inverted still lifes," works in which the still-life elements are placed prominently in the foreground, while the narrative elements are relegated to the background. A Meat Stall is Aertsen's masterpiece in this genre. A feast for the mind as well as the eyes, this remarkably executed painting abounds with rich symbolism. The juxtaposition of the precisely rendered meats and other foods with the Holy Family in the background symbolically links food for the body with the spiritual "bread of life"- food for the soul, represented by the Christ child and the bread, offered by Mary to the poor family.
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A Meat Stall with the Holy Family Giving Alms (detail) Butcher's Stall
Unknown
In the 16th and 17th centuries it was quite common for theologians to see a slaughtered animal as symbolizing the death of a believer. Allusions to the 'weak flesh' (cf. Matthew 16:41) may well have been associated with Aertsen's Butcher's Stall where - like on his fruit and vegetable stalls - a seemingly infinite abundance of meat has been spread out.
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A Meat Stall with the Holy Family Giving Alms Butcher's Stall
Unknown
In the foreground tables, pots, plates, a barrel, some wickerwork chairs and baskets serve as supports and containers for huge hunks of meat, pig's trotters, soups, chains of sausages hanging down and freshly slaughtered poultry. In the background there is an open, shingle-roofed studded stable with a pole from which further pieces of meat are suspended, including a pig's head, a twisted sausage and some lard. Through the stable we can see a garden scene. On the right, in the middle ground, a farmer is filling a large jug, and behind him we can see a slaughtered and gutted pig, a motif which Beuckelaer also used as an independent motif, as did Rembrandt later (where the animal is a slaughtered ox).
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The Dresden Altar (detail) The Dresden Altarpiece
Unknown
The altarpiece was commissioned by Frederick the Wise for the church of the Wittenberg Castle. The altarpiece was in the Kunstkammer in Dresden as early as 1687 which explains its name. The central panel depicts Mary adoring the Child, while the side wings represent St Anthony and St Sebastian. The central panel, displayed with the side panels in the Gem
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The Dresden Altar (detail) The Dresden Altarpiece
Unknown
The altarpiece was commissioned by Frederick the Wise for the church of the Wittenberg Castle. The altarpiece was in the Kunstkammer in Dresden as early as 1687 which explains its name. The central panel depicts Mary adoring the Child, while the side wings represent St Anthony and St Sebastian. The central panel, displayed with the side panels in the Gem
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The Dresden Altar (detail) The Dresden Altarpiece
Unknown
The altarpiece was commissioned by Frederick the Wise for the church of the Wittenberg Castle. The altarpiece was in the Kunstkammer in Dresden as early as 1687 which explains its name. The central panel depicts Mary adoring the Child, while the side wings represent St Anthony and St Sebastian. The central panel, displayed with the side panels in the Gem
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The Dresden Altar (detail) The Dresden Altarpiece
Unknown
The altarpiece was commissioned by Frederick the Wise for the church of the Wittenberg Castle. The altarpiece was in the Kunstkammer in Dresden as early as 1687 which explains its name. The central panel depicts Mary adoring the Child, while the side wings represent St Anthony and St Sebastian. The central panel, displayed with the side panels in the Gem
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The Dresden Altar The Dresden Altarpiece
Unknown
The altarpiece was commissioned by Frederick the Wise for the church of the Wittenberg Castle. The altarpiece was in the Kunstkammer in Dresden as early as 1687 which explains its name. The central panel depicts Mary adoring the Child, while the side wings represent St Anthony and St Sebastian. The central panel, displayed with the side panels in the Gem
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Christ Walking on Water (detail) The Miraculous Draught of Fishes
Unknown
Witz was a Swiss painter. His only signed and dated work is the Saint Peter Altarpiece of which only four panels (the wings) survived. One of them, the Miraculous Draught presents a true landscape with view of the Lake of Geneva.
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Christ Walking on Water (detail) The Miraculous Draught of Fishes
Unknown
Witz was a Swiss painter. His only signed and dated work is the Saint Peter Altarpiece of which only four panels (the wings) survived. One of them, the Miraculous Draught presents a true landscape with view of the Lake of Geneva.
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Christ Walking on Water (detail) The Miraculous Draught of Fishes
Unknown
Witz was a Swiss painter. His only signed and dated work is the Saint Peter Altarpiece of which only four panels (the wings) survived. One of them, the Miraculous Draught presents a true landscape with view of the Lake of Geneva.
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Christ Walking on Water (detail) The Miraculous Draught of Fishes
Unknown
Witz was a Swiss painter. His only signed and dated work is the Saint Peter Altarpiece of which only four panels (the wings) survived. One of them, the Miraculous Draught presents a true landscape with view of the Lake of Geneva.
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The Annunciation. the Virgin (detail)
Unknown
The panel depicting in grisaille the Virgin annunciated is one of the wings of a small portable diptych. The other wing representing the angel annunciating is in the same museum.
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The Annunciation. Gabriel. (Detail)
Unknown
The panel depicting in grisaille the angel of the Annunciation is one of the wings of a small portable diptych. The other wing representing the Virgin annunciated is in the same museum.
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The Virgin and Child in a Church (a portable altar)
Unknown
The symbolism of the colours used in the painting serve to heighten its spiritual message.
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The Virgin and Child in a Church (a portable altar)
Unknown
Since 1425 Eyck served at the court of Philip the Good of Burgundy, where he was greatly valued not only as an artist, but he also was entrusted by Duke with various diplomatic missions. Since 1430 van Eyck lived and worked in Bruges as painter to the court and city. It was believed, that Jan van Eyck invented painting with oils, maybe it is not true, but his technique in painting with oils is exceptional. His paint is so transparent that his works have a unique, almost luminous sheen.
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The Virgin and Child in a Church (a portable altar)
Unknown
Van Eyck's inspired observations of light and its effects, executed with technical virtuosity through this new, transparent medium, enabled him to create a brilliant and lucid kind of reality. The invention of this technique transformed the appearance of painting. Since 1430 van Eyck lived and worked in Bruges as painter to the court and city. It was believed, that Jan van Eyck invented painting with oils, maybe it is not true, but his technique in painting with oils is exceptional. His paint is so transparent that his works have a unique, almost luminous sheen.
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The Virgin and Child in a Church (central section of a portable altar)
Unknown
Van Eyck's inspired observations of light and its effects, executed with technical virtuosity through this new, transparent medium, enabled him to create a brilliant and lucid kind of reality. The invention of this technique transformed the appearance of painting. Since 1430 van Eyck lived and worked in Bruges as painter to the court and city. It was believed, that Jan van Eyck invented painting with oils, maybe it is not true, but his technique in painting with oils is exceptional. His paint is so transparent that his works have a unique, almost luminous sheen.
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Etienne Chevalier with St. Stephen (right panel) Diptych de Moulin. Etienne Chavalier Presented by St. Stephen
Unknown
Estienne Chevalier, who came from Melun, was French Ambassador to England in 1445 and six years later became Treasurer to Charles VII of France. He presented the diptych of which this panel forms the left wing, to his native town; on this wing he had himself painted next to his patron saint, Stephen. The saint, wearing a deacon's robe, is holding a book, on which a jagged stone is lying, as a symbol of his martyrdom. The formal architecture in the background is in the Italian Renaissance style showing pilasters with coloured inlaid marble panels between them. On the wall, receding in perspective, the name Estienne Chevalier is inscribed several times.
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Etienne Chevalier with St. Stephen (right panel) Diptych de Moulin. Etienne Chavalier Presented by St. Stephen
Unknown
Estienne Chevalier, who came from Melun, was French Ambassador to England in 1445 and six years later became Treasurer to Charles VII of France. He presented the diptych of which this panel forms the left wing, to his native town; on this wing he had himself painted next to his patron saint, Stephen. The saint, wearing a deacon's robe, is holding a book, on which a jagged stone is lying, as a symbol of his martyrdom. The formal architecture in the background is in the Italian Renaissance style showing pilasters with coloured inlaid marble panels between them. On the wall, receding in perspective, the name Estienne Chevalier is inscribed several times.
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Etienne Chevalier with St. Stephen (right panel) Diptych de Moulin. Etienne Chavalier Presented by St. Stephen
Unknown
Estienne Chevalier, who came from Melun, was French Ambassador to England in 1445 and six years later became Treasurer to Charles VII of France. He presented the diptych of which this panel forms the left wing, to his native town; on this wing he had himself painted next to his patron saint, Stephen. The saint, wearing a deacon's robe, is holding a book, on which a jagged stone is lying, as a symbol of his martyrdom. The formal architecture in the background is in the Italian Renaissance style showing pilasters with coloured inlaid marble panels between them. On the wall, receding in perspective, the name Estienne Chevalier is inscribed several times.
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The Portinari Altar (Right panel)
Unknown
Tommaso Portinari, who loved Flemish art, commissioned Hugo van der Goes to paint the Portinari alterpiece. This great triptych, painted in Bruges in around 1475, originally stood on the high altar of the church of Sant
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The Portinari Altar (Right panel)
Unknown
Tommaso Portinari, who loved Flemish art, commissioned Hugo van der Goes to paint the Portinari alterpiece. This great triptych, painted in Bruges in around 1475, originally stood on the high altar of the church of Sant
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The Portinari Altar (Right panel)
Unknown
Tommaso Portinari, who loved Flemish art, commissioned Hugo van der Goes to paint the Portinari alterpiece. This great triptych, painted in Bruges in around 1475, originally stood on the high altar of the church of Sant
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The Portinari Altar ( Left panel)
Unknown
The Portinari Altar (1476-78) is his only authenticated surviving work, around which others can nevertheless be grouped with some certainty: Monforte Altar, The Fall of Adam, one of his earliest surviving works, and several others. Hugo van der Goes occupies a unique position in painting history because of his insight into character and class and through his intensely observant, almost surreal, rendering of nature and space. Hugo
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The Portinari Altar (Left panel)
Unknown
Tommaso Portinari, who loved Flemish art, commissioned Hugo van der Goes to paint the Portinari alterpiece. This great triptych, painted in Bruges in around 1475, originally stood on the high altar of the church of Sant
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The Portinari Altar (Left panel)
Unknown
Tommaso Portinari, who loved Flemish art, commissioned Hugo van der Goes to paint the Portinari alterpiece. This great triptych, painted in Bruges in around 1475, originally stood on the high altar of the church of Sant
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The Portinari Altar (Central panel)
Unknown
Tommaso Portinari, who loved Flemish art, commissioned Hugo van der Goes to paint the Portinari alterpiece. This great triptych, painted in Bruges in around 1475, originally stood on the high altar of the church of Sant
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The Portinari Altar - Central panel
Unknown
Tommaso Portinari, who loved Flemish art, commissioned Hugo van der Goes to paint the Portinari alterpiece. This great triptych, painted in Bruges in around 1475, originally stood on the high altar of the church of Sant
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The Portinari Altar (Central panel)
Unknown
Tommaso Portinari, who loved Flemish art, commissioned Hugo van der Goes to paint the Portinari alterpiece. This great triptych, painted in Bruges in around 1475, originally stood on the high altar of the church of Sant
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The Portinari Altar (Central panel)
Unknown
Tommaso Portinari, who loved Flemish art, commissioned Hugo van der Goes to paint the Portinari alterpiece. This great triptych, painted in Bruges in around 1475, originally stood on the high altar of the church of Sant
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Netherlandish Proverbs (detail)
Unknown
Pieter Bruegel the Elder developed an original style that uniformly holds narrative, or story-telling, meaning. In subject matter he ranged widely, from conventional Biblical scenes and parables of Christ to such mythological portrayals as Landscape with the Fall of Icarus; religious allegories in the style of Hieronymus Bosch; and social satires. Popular in his own day, his works have remained consistently popular.
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Netherlandish Proverbs (detail)
Unknown
Pieter Bruegel the Elder developed an original style that uniformly holds narrative, or story-telling, meaning. In subject matter he ranged widely, from conventional Biblical scenes and parables of Christ to such mythological portrayals as Landscape with the Fall of Icarus; religious allegories in the style of Hieronymus Bosch; and social satires. Popular in his own day, his works have remained consistently popular.
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Netherlandish Proverbs (detail)
Unknown
Pieter Bruegel the Elder developed an original style that uniformly holds narrative, or story-telling, meaning. In subject matter he ranged widely, from conventional Biblical scenes and parables of Christ to such mythological portrayals as Landscape with the Fall of Icarus; religious allegories in the style of Hieronymus Bosch; and social satires. Popular in his own day, his works have remained consistently popular.
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Netherlandish Proverbs (detail)
Unknown
Pieter Bruegel the Elder developed an original style that uniformly holds narrative, or story-telling, meaning. In subject matter he ranged widely, from conventional Biblical scenes and parables of Christ to such mythological portrayals as Landscape with the Fall of Icarus; religious allegories in the style of Hieronymus Bosch; and social satires. Popular in his own day, his works have remained consistently popular.
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Netherlandish Proverbs (detail)
Unknown
Pieter Bruegel the Elder developed an original style that uniformly holds narrative, or story-telling, meaning. In subject matter he ranged widely, from conventional Biblical scenes and parables of Christ to such mythological portrayals as Landscape with the Fall of Icarus; religious allegories in the style of Hieronymus Bosch; and social satires. Popular in his own day, his works have remained consistently popular.
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Netherlandish Proverbs (detail)
Unknown
Pieter Bruegel the Elder developed an original style that uniformly holds narrative, or story-telling, meaning. In subject matter he ranged widely, from conventional Biblical scenes and parables of Christ to such mythological portrayals as Landscape with the Fall of Icarus; religious allegories in the style of Hieronymus Bosch; and social satires. Popular in his own day, his works have remained consistently popular.
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Netherlandish Proverbs (detail)
Unknown
Pieter Bruegel the Elder developed an original style that uniformly holds narrative, or story-telling, meaning. In subject matter he ranged widely, from conventional Biblical scenes and parables of Christ to such mythological portrayals as Landscape with the Fall of Icarus; religious allegories in the style of Hieronymus Bosch; and social satires. Popular in his own day, his works have remained consistently popular.
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Netherlandish Proverbs
Unknown
Netherlandish Proverbs, or the Blue Cloak as it is sometimes called, includes visual representations of perhaps more than 90 individual proverbs. The precise number of proverbs remains somewhat uncertain because modern scholarly interpretations vary and, in some case, more than one proverb might be assigned to the same component in the painting.
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King Fran Portrait of Fran
Unknown
The painting is one of the masterpieces of Renaissance portraiture. The half length figure of the king is painted in front of a scarlet brocade background. His cap, studded with pearls, is encircled with white feathers. His magnificent black and white striped satin doublet is lavishly embroidered in gold. A medal of St Michael is suspended on a gold chain around his neck. His right hand, holding gloves, rests on a table with a green velvet cover; his left on a magnificently worked sword hilt. His narrowed blue eyes, his shrewd glance, his dark moustache and beard lend his face a singular attraction. The whole is a telling portrait of a sovereign who was an outstanding personality and a generous Renaissance patron of art.
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King Fran Portrait of Fran
Unknown
The painting is one of the masterpieces of Renaissance portraiture. The half length figure of the king is painted in front of a scarlet brocade background. His cap, studded with pearls, is encircled with white feathers. His magnificent black and white striped satin doublet is lavishly embroidered in gold. A medal of St Michael is suspended on a gold chain around his neck. His right hand, holding gloves, rests on a table with a green velvet cover; his left on a magnificently worked sword hilt. His narrowed blue eyes, his shrewd glance, his dark moustache and beard lend his face a singular attraction. The whole is a telling portrait of a sovereign who was an outstanding personality and a generous Renaissance patron of art.
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King Fran Portrait of Fran
Unknown
The painting is one of the masterpieces of Renaissance portraiture. The half length figure of the king is painted in front of a scarlet brocade background. His cap, studded with pearls, is encircled with white feathers. His magnificent black and white striped satin doublet is lavishly embroidered in gold. A medal of St Michael is suspended on a gold chain around his neck. His right hand, holding gloves, rests on a table with a green velvet cover; his left on a magnificently worked sword hilt. His narrowed blue eyes, his shrewd glance, his dark moustache and beard lend his face a singular attraction. The whole is a telling portrait of a sovereign who was an outstanding personality and a generous Renaissance patron of art.
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Garden of Earthly Delights : Hell (right wing) (detail) Garden of Delights : Hell
Unknown
Several huge musical instruments figure prominently in Bosch's conception of hell. Their relationship to each other bears strongly fanciful elements, and they have been adapted in form. What is more, the use of these instruments is wholly fantastic. There is a human figure stretched across the strings of a harp; another writhes around the neck of a flute, intertwined with a snake; a third peers out of a drum equipped with bird-like feet, the next one plays triangle while reaching out from a hurdy-gurdy, and even the smoking trumpet displays an outstretched human arm.
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Garden of Earthly Delights : Hell (right wing) (detail) Garden of Delights : Hell
Unknown
The torments of hell, a dark, icy, yet fiery nightmarish vision, on the right. At the time of his death, Bosch was internationally celebrated as an eccentric painter of religious visions who dealt in particular with the torments of hell. During his lifetime Bosch's works were in the inventories of noble families of the Netherlands, Austria, and Spain, and they were imitated in a number of paintings and prints throughout the 16th century, especially in the works of Pieter Bruegel the Elder.
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Garden of Earthly Delights : Hell (right wing) Garden of Delights : Hell
Unknown
The right wing of the triptych represents the Hell. At the time of his death, Bosch was internationally celebrated as an eccentric painter of religious visions who dealt in particular with the torments of hell. During his lifetime Bosch's works were in the inventories of noble families of the Netherlands, Austria, and Spain, and they were imitated in a number of paintings and prints throughout the 16th century, especially in the works of Pieter Bruegel the Elder.
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Garden of Earthly Delights : Hell (right wing) (detail) Garden of Delights : Hell
Unknown
The torments of hell, a dark, icy, yet fiery nightmarish vision, on the right. At the time of his death, Bosch was internationally celebrated as an eccentric painter of religious visions who dealt in particular with the torments of hell. During his lifetime Bosch's works were in the inventories of noble families of the Netherlands, Austria, and Spain, and they were imitated in a number of paintings and prints throughout the 16th century, especially in the works of Pieter Bruegel the Elder.
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The Garden of Earthly Delights : Paradise (left wing) (detail) Garden of Delights. : Garden of Eden
Unknown
This is a detail of the left wing representing Paradise (Garden of Eden).
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The Garden of Earthly Delights : Paradise (left wing) (detail) The Earthly Paradise (Garden of Eden)
Unknown
This painting was probably made for the private enjoyment of a noble family. It is named for the luscious garden in the central panel, which is filled with cavorting nudes and giant birds and fruit. The triptych depicts the history of the world and the progression of sin. Beginning on the outside shutters with the creation of the world, the story progresses from Adam and Eve and original sin on the left panel to the torments of hell, a dark, icy, yet fiery nightmarish vision, on the right. The Garden of Delights in the center illustrates a world deeply engaged in sinful pleasures.
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The Garden of Earthly Delights : Paradise (left wing) (detail) Garden of Delights. : Garden of Eden
Unknown
This is a detail of the left wing representing Paradise (Garden of Eden).
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The Garden of Earthly Delights (central panel) (detail) Garden of Delights
Unknown
The enigmatic and strange fantasies that people the work of Bosch earned him enormous fame even in his own lifetime, and his creations were widely imitated. But nothing either in his own or in his contemporaries' work equals the invention of the Garden of Earthly Delights triptych, justly his most famous painting.
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The Garden of Earthly Delights (central panel) (detail) Garden of Delights
Unknown
Various attempts have been made to relate these fantasies to the realities of his own day. For instance, some of the sexually related visions have been related to the creed of the Adamites, a hereticel sect of the day advocating, at least in theory, sexual freedom like that in Eden. But the most promising line has been to recognize many of them as illustrations of proverbs. This approach also provides a link between these fantasies and Bosch's other work, such as the Cure of Folly or Haywain, and between Bosch's later work and Bruegel's in the middle of the sixteenth century: though without Bosch's satanic profusion, Bruegel also made illustrations of proverbs in this way.
