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Hieronymus Bosch, Garden of earthly delights

Autor: Hans Belting; Hieronymus Bosch
Editora: Munich ; London ; New York : Prestel, 2012.
Edição/Formato   Print book : InglêsVer todas as edições e formatos
Base de Dados:WorldCat
Resumo:
"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  Ler mais...
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Detalhes

Gênero/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
Pessoa Denominada: Hieronymus Bosch; Hieronymus Bosch; Hieronymus Bosch; Hieronymus Bosch; Hieronymus Bosch
Tipo de Documento: Livro
Todos os Autores / Contribuintes: Hans Belting; Hieronymus Bosch
ISBN: 3791333208 9783791333205
Número OCLC: 829228470
Descrição: 125 pages : color illustrations ; 25 cm
Conteúdos: 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 and his hometown --
In the Palais Nassau --
A gap in the Bible --
Cardinal Grimani's altarpiece --
A new concept of art in dialogue with literature --
Rival dreams of paradise --
The isle of nowhere --
Fiction and humanist portraiture: an excursus.
Outros Títulos: Hieronymus Bosch, Garten der Lüste.
Responsabilidade: Hans Belting ; [translated from the German].
Mais informações:

Resumo:

"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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