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Compiled by members of the Bosch Research and Conservation Project and published on the 500th anniversary of Hieronymus Bosch's death, this is the definitive�new catalogue of all of Bosch's extant paintings and drawings. His mastery and genius have been redefined as a result of six years of research on the iconography, techniques, pedigree, and conservation history of his paintings and on his life. This stunning volume includes all new photography, as well as up-to-date research on the individual works. For the first time, the incredible creativity of this late medieval artist, expressed in countless details, is reproduced and discussed in this book. Special attention is being paid to Bosch as an image maker, a skilled draughtsman, and a brutal painter, changing the game of painting around 1500 by his innovative way of working.
- Sales Rank: #136131 in Books
- Published on: 2016-06-07
- Original language: English
- Number of items: 1
- Dimensions: 13.50" h x 2.00" w x 10.10" l, .0 pounds
- Binding: Hardcover
- 608 pages
Review
“Dense [and] beautifully illustrated”—Ingrid D. Rowland, New York Review of Books (Ingrid D. Rowland New York Review of Books)
About the Author
Matthijs Ilsink�is project coordinator of the Bosch Research and Conservation Project and teaches at Radboud University, Nijmegen. Jos Koldeweij�is professor in art history of the Middle Ages at the University of Nijmegen, the Netherlands.�Ron Spronk�is professor in art history at Queen’s University, Kingston, Ontario, Canada, and Radboud University, Nijmegen, the Netherlands.�Luuk Hoogstede�is a paintings conservator at SRAL, Maastricht.�
Most helpful customer reviews
2 of 2 people found the following review helpful.
Bravo to the entire team of specialists who gathered the data and assembled this amazing book. which is a work of art in ...
By Claudia L. Bach
A remarkable, indeed, landmark accomplishment in the field of Bosch research. This definitive work will be the last word for years to come. Bravo to the entire team of specialists who gathered the data and assembled this amazing book. which is a work of art in its own right.
20 of 21 people found the following review helpful.
Raising the bar on monographic catalogues
By Gary Schwartz
This review covers two linked publications by the Bosch Research and Conservation Project, which are sold separately:
Hieronymus Bosch, Painter and Draughtsman: Catalogue Raisonn�
Hieronymus Bosch, Painter and Draughtsman: Technical Studies
The publications of the Bosch Research and Conservation Project (BRCP) of the paintings and drawings of Jheronimus Bosch (ca. 1450-1516) are a model of their sort. They form one of the most integral and most complete studies of the work of an individual master in the literature of art history. From 2010 to 2015 the BRCP examined in astonishing detail, from a great variety of angles, nearly all of the paintings and drawings seriously attributed to Bosch and his studio. (The National Gallery in London, the Gem�ldegalerie der Akademie der bildenden K�nste in Vienna and the Prado in Madrid denied the BRCP permission to examine or document some key works.) Identical instruments were used for this purpose by the team, whose members worked closely with each other throughout the campaign. This allowed the BRCP to perform nearly exhaustive stylistic and technical comparisons of a minuteness and refinement unimaginable if one has to rely on materials provided by third parties. It helped that the oeuvre of Bosch is relatively small and is held nearly entirely by public museums.
The most significant contribution of the BRCP to Bosch studies lies in the technical examination of the works and the imaging technology that has been developed in order to analyze them by uniform standards. The books offer more than a thousand whole and detailed photographs, macros, X-rays, infrared photographs and reflectograms, raking light and ultraviolet images, as well as comparative illustrations. The campaign included not only the creation of images but also their processing to make them available for the researchers and the museums. A vast selection will also be made available to one and all on Internet, at (...). (As of this writing, 11 May 2016, only a few images were available, although the site itself announces the “much larger web application” for December 2015.)
What made the campaign possible was a unique funding opportunity that involved factors above and beyond the reach of academics and museum people. The township of Den Bosch and other government and commercial parties invested heavily in the project as part of a city-merchandising effort to make use of the international fame of Hieronymus Bosch to put the relatively unknown town after which he named himself on the map. The central event was the largest-ever exhibition of paintings and drawings by Bosch, in the Noordbrabants Museum. (After the exhibition closed on 8 May 2016, the museum announced that it drew 421,700 visitors, the largest number ever to visit an art event in the Netherlands outside the major cities in the west of the country. The opening hours had to be extended four times, up to 124 hours for the final week and 24 hours a day for the last weekend. From 31 May to 11 September an even larger Bosch exhibition will be on show in the Prado.)
The publications of the BRCP played an interesting role in this enterprise. Because the Noordbrabants Museum has nothing in its own collection that would interest the museums holding work by Bosch, the organizers of the exhibition put together, in collaboration with the Radboud University in Nijmegen, a heavy-duty team to create science and scholarship that would represent sufficient value to the lenders to get them over the bridge. Additional enticement was offered in the form of financial and professional support for restoring the paintings to be lent. Some 7 million euros was raised to finance the research and publication that culminated in the two volumes under review. Rumor has it that the formula was such a striking success that it is being adapted for a Pieter Bruegel exhibition in Vienna.
What do the volumes offer? The Catalogue Raisonn� opens with chapters on the biography of the artist; a sensible reflection on what makes a Bosch a Bosch; materials and techniques; and the conservation history and condition of the works. The latter point is of the essence for appreciating the contribution of the BRCP. Until not long ago, it was a matter of course that even a serious catalogue raisonn� of the paintings of a given master passed over the condition of the paintings in near or utter silence. As the Bosch volumes show, this is an inexcusable omission. Time and again, close investigation reveals that a painting can be completely misunderstood if it is taken for granted that the surface effect shows what the artist intended to be seen. In the case of Bosch, this extends even to the physical form of the works, many of which have been carved up and reconstituted. The chapter in Catalogue Raisonn� summarizes the findings that are published in detail in Technical Studies. The volume closes with transcriptions and translations of the most extended early texts on Bosch, from Italian, Spanish and Dutch sources.
The bulk of both books is devoted to the entries on the individual paintings and drawings. To get a full picture, one has to read the entries in both volumes. The entries in Catalogue Raisonn� begin with the usual summary information, followed by longer sections, as the case demands, on subject matter, symbolism, provenance, comparisons with other works, and particular issues pertaining to the work. It was obviously impossible for the Catalogue Raisonn� to cover things exhaustively. An entry of 20 pages on the Garden of Delights clearly cannot go into all the discussions in the many books devoted to this painting alone. In such cases the BRCP tends to present an interpretation of its own. Some of these interpretations are quite extensive. The early history of the Last Judgment in Vienna, for example, is treated at length, in order to prove that it is not the same triptych commissioned from Bosch in 1504 by Philip the Handsome. (I am still not sure that I am convinced.) This lends a certain disequilibrium to the Catalogue Raisonn�. The authors pick out the issues on which they have the strongest convictions, which vary from work to work.
One of the main aspects for which the Catalogue Raisonn� will be consulted is to ascertain the opinion of the BRCP on the authorship of the works attributed to Bosch. Like other researchers before them, they maintain a division between works made entirely by Bosch; Bosch with workshop assistance; products made entirely by the workshop; and works by followers. The Project arrives at some attributions that diverge from the recent catalogues of Stefan Fischer, of the paintings, and Fritz Koreny, of the drawings. But not that many. The BRCP attributes to Bosch a fragment of a Temptation of St. Anthony in Kansas City that Fischer does not mention in his catalogue. It accepts as Bosch a Last Judgment in Bruges that Fischer assigns to the workshop or a follower, and – the most striking difference of opinion – the Adoration of the Magi in the Metropolitan Museum of Art that Fischer excoriates as a posthumous pastiche.
The Catalogue Raisonn� is full of fulminations against the distinguished Bosch expert Fritz Koreny, but these have to do with his opinions concerning paintings. When it comes to the drawings, which are Koreny’s specialty, the BRCP agrees with his judgments, except for accepting as autograph a number of sheets Koreny assigns to the workshop, such as Man in a Basket in Vienna; an Entombment in the British Museum; a Hell in Berlin; and, foremost among them, a Hell Scene in a private collection, the attribution of which to Bosch the BRCP claims with some exaggeration as an original discovery. In other words, in terms of attribution, the Catalogue Raisonn� does not shake the earth under the feet of other Bosch students.
Technical Studies differs from the Catalogue Raisonn� in that it does provide exhaustive information, most of it original, on nearly all the paintings. (The drawings are not covered, and no research report is provided for the Last Judgment in Vienna and the Garden of Delights in the Prado.) Whereas the Catalogue Raisonn� works in traditional art-historical terms, getting into the usual yes-and-no discussions on disputed points, Technical Studies offers massive, mainly incontrovertible findings about the materiality of the paintings. The entries are uniform, covering – for all but the few paintings to which access or permission was denied by the museums – Related work, Examination data, Support, Ground, Preparatory layers, Paint layers, Frame, and Condition of Support, Ground and paint layers, and Surface finish, each broken down into smaller sections, all backed up with a wealth of illustrations. The evidence stops short in all but a few cases of invasive techniques like pigment samples. It will take years for colleagues to investigate and judge these findings.
Of course there are quibbles. I regret that Technical Studies and the English edition of the Catalogue Raisonn� calls the artist by the anachronistic, conventional name Hieronymus Bosch. They should have stepped over resolutely to his own chosen nom d’artiste, Jheronimus Bosch. Also, the two volumes are not always synchronized properly. In the very first entry, on Saint Jerome at Prayer in Ghent, Technical Studies states: “As further explained in BRCP, Catalogue raisonn�, cat. 1, we date this work to around 1485-95.” However, in the entry referred to I was unable to find any discussion at all of the dating. (In general, the BRCP was wise not to make too much a point of chronology, which in the case of Bosch is full of pitfalls and unprovable assertions.)
At a more fundamental level, I find that that the enterprise is guided too strongly by the demands of traditional connoisseurship. That is, providing a yes-or-no answer to the question of whether a work was or was not conceived and executed entirely by The Master. In my view, it should not be assumed that this question can be answered satisfactorily in those terms with regard to early art, when collaboration and studio production were the norm. In the section of the Catalogue Raisonn� on What makes a Bosch?, the BRCP discusses this dilemma openly, but in the catalogue and in Technical Studies, the imperative of connoisseurship lays a heavy hand. The “Summary of conclusions” in the entries in Technical Studies tend to begin with a statement such as this, on cat. 5: “The technical evidence is in full agreement with the assertion that the Saint John the Baptist in Madrid was painted by Hieronymus Bosch.” That has a lawyer-like ring and it sidesteps all kinds of less categorical considerations. If all the variety in composition, style, technique and imaging encountered in the entries in Technical Studies were given proper weight, the results would have been more diffuse than the stated conclusions.
A word of admiring appreciation is due to Ann Mestdag of the Mercatorfonds publishing house, for coordinating these complex and demanding books so well; Paul van Calster of Anagram, Ghent, for his impeccable editing and design, and die Keure, Bruges, for exemplary lithography, printing and binding.
In all, Hieronymus Bosch, Painter and Draughtsman is an indispensable addition not only to the literature on the artist. It also sets a new standard for the physical investigation and uniform imaging of the works of any artist. It is to be hoped that the investigative techniques developed by the BRCP will be applied in the same form to the work of other artists than Bosch from the same time. Only then will we be able to understand better what was idiosyncratic, innovative or conventional in Bosch’s work and that of his contemporaries. The Bosch Research and Conservation Project has shown the way.
0 of 0 people found the following review helpful.
Five Stars
By Amazon Customer
An incredible compendium of a master's contribution to the art world.
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