"Sicut in utrem aquas maris: Jerome Bosch's Prolegomenon to the Garden of Earthly Delights". The pointing man is the only clothed figure in the panel, and as Fraenger observes, "he is clothed with emphatic austerity right up to his throat".The way this man's dark hair grows, with the sharp dip in the middle of his high forehead, as though concentrating there all the energy of the masculine M, makes his face different from all the others. 's-HertogenboschJheronimus Bosch, his patrons and his public . 2001a, 84–99:90–91.

At the time, the power of This line of reasoning is consistent with interpretations of Bosch's other major moralising works which hold up the folly of man; the In 1947, Wilhelm Fränger argued that the triptych's center panel portrays a joyous world when mankind will experience a rebirth of the innocence enjoyed by Adam and Eve before their Examining the symbolism in Bosch's art—"the freakish riddles … the irresponsible phantasmagoria of an ecstatic"—Fränger concluded that his interpretation applied to Bosch's three altarpieces only: Because Bosch was such a unique and visionary artist, his influence has not spread as widely as that of other major painters of his era. Hieronymus is the Latin form of Jerome. "Netherlandish Artists and Art in Renaissance Nuremberg". It has been housed in the Museo del Prado in Madrid since the year 1939. "D for Deus and Diabolus. International Jheronimus Bosch Conference (3trd) 16-18 september 2012. Actas del Simposium 1-5-IX-2001Le dessin sous-jacent et la technologie.

"High stakes in Brussels, 1567. Bosch was christened Jeroen van Aken but took surname Bosch from the town he lived in for most of his life. Smith, Jeffrey Chipps. Rendered in a green–gray The outer panels are generally thought to depict the Despite the presence of vegetation, the earth does not yet contain human or animal life, indicating that the scene represents the events of the biblical Third Day. Works commissioned and owned by churches or royalty are more likely to have surviving documentationVandenbroeck, Paul.

El Bosco. International Jheronimus Bosch Conference (3trd) 16-18 september 2012. Scholars generally agree that these In a cave to their lower right, a male figure points towards a reclining female who is also covered in hair. It is an extraordinarily fascinating face, reminding us of faces of famous men, especially of Machiavelli's; and indeed the whole aspect of the head suggests something Mediterranean, as though this man had acquired his frank, searching, superior air at Italian academies.The pointing man has variously been described as either the patron of the work (Fraenger in 1947), as an advocate of Adam denouncing Eve (Dirk Bax in 1956), as Saint There is no perspectival order in the foreground; instead it comprises a series of small motifs wherein proportion and terrestrial logic are abandoned. Colloque XIDe arte: revista de historia del arte / Universidad de León, Facultad de Filosofía y Letras.Invention: northern renaissance studies in honor of Molly FariesArte en tiempos de guerra Jornadas de Arte (14º.2008.Madrid)Gómez Cano, J.; Orellana Escudero, G.; Varela Simó, J.Fables du paysage flamand. As so little is known of Bosch's life or intentions, interpretations of his intent have ranged from an admonition of worldly fleshy indulgence, to a dire warning on the perils of life's temptations, to an evocation of ultimate sexual joy. International Jheronimus Bosch Conference (3trd) 16-18 september 2012.