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Hieronymus Bosch, Garden of earthly delights

Autor: Hans Belting; Hieronymus Bosch
Editorial: Munich ; London ; New York : Prestel, 2012.
Edición/Formato:   Print book : Inglés (eng)Ver todas las ediciones y todos los formatos
Base de datos:WorldCat
Resumen:
"Hans Belting avoids interpreting Hieronymus Bosch's triptych, The Garden of Earthly Delights, as a heretical masterpiece, a personal examination of the church's dogmas, or as an opulent illustration of the Creation. Instead, he sees the panels as a painted Utopia, reflecting the zeitgeist of the period. He links the work to the humanist theories of Thomas More and Willibald Pirckheimer and examines the question  Leer más
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Detalles

Género/Forma: Criticism, interpretation, etc
Formato físico adicional: Online version:
Belting, Hans.
Hieronymus Bosch, Garden of earthly delights.
Munich ; New York : Prestel Pub., ©2002
(OCoLC)606674493
Persona designada: Hieronymus Bosch; Hieronymus Bosch; Hieronymus Bosch; Hieronymus Bosch; Hieronymus Bosch
Tipo de documento: Libro/Texto
Todos autores / colaboradores: Hans Belting; Hieronymus Bosch
ISBN: 3791333208 9783791333205 9783791382050 3791382055
Número OCLC: 829228470
Descripción: 125 pages : color illustrations ; 25 cm
Contenido: A tale of fascination --
In a painted labyrinth of the gaze --
The world before humankind --
The world as earthly paradise --
The world as hell --
Another world --
The artist in his home town --
In the Palais Nassau --
A gap in the Bible --
Cardinal Grimani's altarpiece --
A new concept in art in dialogue with literature --
Rival dreams of paradise --
The isle of nowhere --
Fiction and humanist portraiture: an excursus.
Otros títulos: Hieronymus Bosch, Garten der Lüste.
Responsabilidad: Hans Belting ; [translated from the German].
Más información:

Resumen:

"Hans Belting avoids interpreting Hieronymus Bosch's triptych, The Garden of Earthly Delights, as a heretical masterpiece, a personal examination of the church's dogmas, or as an opulent illustration of the Creation. Instead, he sees the panels as a painted Utopia, reflecting the zeitgeist of the period. He links the work to the humanist theories of Thomas More and Willibald Pirckheimer and examines the question that Bosch posed: "What would the world have been like without the Fall?" In addition, the author determines the secular patron and analyses the intended purpose of the painting."--Jacket.

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Datos enlazados


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