Hieronymus Bosch. The woods have ears, the fields have eyes. (DATE?)

• In pen and ink (unique); indicates a greater spontaneity and delicacy of touch; nervous crosshatching; inscription in Latin "Characteristic of the most pitible of wits, always to use what has been invented and never inventing"
• Bosch is educated in literary ideals and principles; is interested in applying these to artistic invention
• In this work: innovative technique which gives illusion of quickness; combining words and pictures so they cross-fertilize
• eyes in field, ears in trees, fox looking out from base of tree, owl in center, birds flying and screeching (contradiction: owl is blinded in daylight vs. its all-seeing nature)

Hieronymus Bosch. The Last Judgement. c. 1485 or 1504 (?)

• how do we know Bosch: what is by him and not by him; wit=prone to imitaiton
• hell in the right wing; panoramic landscape/ half a map; creating a view of a universal space with division of bodies

Anonymous in the style of Bosch. Christ's Descent into Limbo. c. 1555

• knock-off of Bosch after his death

Anonymous in the style of Hieronymus Bosch. Crowning with Thorns. After 1553.

• Use of dendrochronology helps distinguish reals and fakes-produced after his death
  
• Christ mocked by soldiers and jewish priest; griselle surrounding of original batthle (fall of angels); differentiation of faces

Anonymous in the style of Hieronymus Bosch. Christ at the Marriage in Cana. c. 1560.

• copies of lost work or new imitaitons, meant to exploit his popularity

Pupil of Hieronymus Bosch(?). The Seven Deadly Sins. c. 1500.

• Product of a close follower; unambiguous meaning--> not true in Bosch's paintings
• 7 sins on a wheel, inscriptions from Deuteronomy explaining; "beware, beware God sees" center resembles an eye and convex mirror (mirror of moral reflection); hell gives the punishment for each sin
• KEY PICTURE FOR THE RISE OF MORAL SATIRE IN THE NETHERLANDS

Hieronymus Bosch. Garden of Earthly Delights. c. 1480 or 1500 (?).

• By dating him later, Bosch is correlated to the new innovations in Italy; earlier date shows this innovation to be his own
• Panoramic landscape/half a map; creating a view of a universal space with activities of human kind being played out: different kinds of lovemaking
• OUTSIDE: crystal glove with clouds and water and emerging rocks and plantlife; God shown as creative agent "He said it and it was done" PSALM 33
• INSIDE: explosion of life, proliferation of creation; LEFT: eden, animals, god creating Eve, Bosch is collecting a rich treasury of images and recombines them in his finished picture (invention vs. recombination); CENTER: decorative ornamental play of the human form, figures placed in staccato pattern, use of color

Hieronymus Bosch. Temptation and Torments of St. Anthony. c.1501.

• Dating is more secure--> one can compare this to Garden of Earthly delights (similar composition; GoED has a higher horizon line; figures more on the flattened surface while in Temp. there is more perspective and gradual transitions)

Hieronymus Bosch. Adoration of the Magi. c.1475

• Recently shown as the work of Bosch: tunnel-like persepctive, flattening of figures
• innovation is also an issue of provinciality--had no constraints to paint in the style of previously established artists

Hieronymus Bosch. Christ shown to the Poeple, Ecce Homo. c.1475.

• Ghost of the donors seen in the foreground
• inscription from the mouth of Pilate says "ecce homo", the people say "crucify him", painted over donors say "Save us, Christ redemeer."
  
• owl and toad on the platform with Pilate to represent evil
  

Hieronymus Bosch. St. John the Evangelist on Patmos. Inside top right shutter for Our Lady Altarpiece. 1488-89

• John recieving the Revelation of the Apocalypse
• bird is a falcon - reference to the eagle (his animal), guarding his writing tools from a demon trying to steal them
  

Church of Our Lady (Cathedral 1559) 15th-16th century.

• Church of which Bosch was an elite member

Frans Floris. Fall of the Rebel Angels. 1554.

• St. Micheal leading the army of the Lord against God's enemies; would have been in altar closest to rood screen
• painted for the altar of the Antwerp Fencers Militia

Quentin Metsys. Triptych for the altar of the Antwerp Joiners Guild. 1508-1511.

• Lamentation over the body of Christ, Salome with the head of John the Baptist, Martyrdom of St. John the Evangelist
• Painted for the Joiners guild; artist was originally a blacksmith
• Incorporates the ideas of van der Weyden with new ideas, particularly those from Italy

Bernaert van Orely. Triptych for the Antwerp Almoners with Seven Acts of Mercy and the Last Judgement. 1519.

• Laymen in charge of distributing acts of charity, so 7 acts are the ideal of what they want to achieve
  

Jan Gossaert. Neptune and Amphitrite. 1516.

• Sudden change in 16th century visual elements
• Commissioned for admiral; Neptune is god who controls sea 
• Figures are nude, shown in a different form of beauty--> poses, articulation of musculature, classical gods (up to now, focus on Christian ideology), setting in an unusual architectural space: fluted columns, bull skull ornament, sense of proportion and geometric measure
• seems as though a revolution has occured; art dominant up to 16th century has been replaced
• Cultural movement surrounding Renaissance transplanted to the north with Gossaert at its helm

Jan Gossaert. Virgin in a Church (after Van Eyck) with Antonio Siciliano and Saint Anthony. 1513.

• Classical northern style also in his oeuvre; participates in a historical revival 
• Painter able to bring together all of the diverse elements of each style

Jan Gossaert. Christ with Mary and St. John the Baptist. c. 1513

• St. John pointing, Mary praying, Christ blessing--distinctive gestures
• each of the figures inserted into an architectural niche--distinctively gothic in style
• Figures reference top center of Ghent altarpiece: both enframed; dazzling surface and technique of van Eyck evoked; DIFFERENCES: architecture is simple in van Eyck, new ornamentation that cuts the geometry of the architectural forms-> emphasizes the sacredness of the figures more; new change in dominant northern style

Mathieu de Layens and Sulpitius van der Vorst. Leuven Town Hall. 1439.

• Style that emphasizes more an individual touch; virtuosic fantasy that recognizes individual work as a kind of signature= emphasizes individual builders or groups of builders who dominate production of major buildings

Rombout Keldermans II. Ghent Town Hall. 1518.

• focus on ornament in the arches above the windows: filled with interlace that thrusts upward

Jan Gossaert. Hercules and Deianeira with Cloak Tainted by the Poisoned Blood of a Centaur. 1517.

• His labors are in relief; architectural niche one from Ancient Rome
• Relationship between male and female full of danger; same relationship as Adam and Eve (sexual tempest) 

Jan Gossaert. Venus and Cupid. 1521.

• "her shameless son accustomed to excite superior men does not spare the mother: be sparing that you might not perish"
• Further explained on columns: decit of Vulcan and trapped in bed with Mars
• outer frame is removable: painting as silent poetry

Albrecht Durer. The Fall of Adam and Eve. 1504.

• Influenced by Italian art
• Adam and Eve in primordial forest: Eve with an apple and a serpent giving another
• Very different conception compared to Van Eyck--new set of proportions and new ideal; figures balancing weight in contrapposto; articulation of human body different; mathematical model vs. 'hit or miss'; relationship of parts to the whole figure
• revival of ancient greek and roman literature--humanist gradual dissemination of learning into Northern Europe; create ideal image and check with nature; combination of theoretical drawing and life drawing and integration of new canons of beauty 

Quentin Metsys. Portrait of Erasmus. 1517 (goes with Portrait of Pieter Gilles)

• Dialogue in scholarship and ideas; kindred spirits; new ideal of friendship rooted in humanist study--> stocism which emphasizes reason and control of passions; friendship between men

Quentin Metsys. Portrait of Pieter Gilles.1517. (goes with portrait of Erasmus)

• Gilles is a humanist from Antwerp, friend of Moore and Erasmus

Hans Holbein the Younger. Folly declaims. Pen and ink marginal illustration to Erasmus, In Praise of Folly. 1515 (REAL IMAGE is a full page of the book)

• Erasmus' humor differed from what came before
• (Bosch's 7 deadly sins: much more straightforward and condemning, negative bite)

Hieronymus Bosch (inventor). The Blue Ship. 1559.

• Related to celebration of carnival- fools would hav ebeen performers, traveled in this shipl; singer resembles an owl

Quentin Metsys. Old Man, Young Woman, and Fool. c. 1520 (ill matched lovers in the real world....)

• Connection to Leonardo's drawing
• connection to Erasmus's quote that folly says: "thanks to me you can see old men everywhere so pleased with life and eager to be young...."something about going after young girls
  
• Uncontrollable lust which goes against reason

Sebastian Brant (author). Title page to Das Narren schyff (Ship of Fools). 1494. (real image is yellow and old looking)

• portrays different kinds of human behavior as negative examples; how different kinds of foolishness are typical of different kinds of people- example: "whoever builds something withoug inquiring on the price is a fool"
  
• Emphasis on self-awareness
• uses proverbs or animals who exemplify meaning

Joachim Patinir. Charon Ferrying a Soul Across the River Styx. c. 1520.

• Spread of humanist ideals <--"nothing comes from nothing" E.H. Gombrich points to presence of natural history in Plimy the Elder
• Landscape also appears in Venice
• deeper significance in the layout of landscapes which connects to Christian meditation--> journey in landscape becomes Christian pilgrim's life
• Mixture of Greek and Roman ideology with Christian hell and heaven, relates to Dante's divine comedy, mixed ancient with christian
• "moral" landscapes of Christian choice; soul being ferried makes the choice between heaven and hell; "path to hell is lush and wide and the path to heaven is narrow and rocky"

Joachim Patinir. Rest on the Flight into Egypt. c. 1520.

• Roads and vistas that invite the viewer in; offers an experience of travel and variety
• Divided into three clear parts (center is the rest): danger of soldiers shown on right with the massacre of the innocents; wheat had sprouted up miraculously to hid the tracks of the holy family
• Patinir always pputs in an image of a shitter as a signature referencing the presence of evil and defilement in the world

THIS IS NOT THE ACTUAL IMAGE, BUT ITS CLOSE!!! Joachim Patinir. Rest on the Flight into Egypt. c.1520.

• General formulaic convention upon which he constructs his view of nature; often two or more versions of the same painting; saleable compositions and their copies; Patinir produces works of varying quality

Joachim Patinir and Quentin Metsys. The Temptation and Torments of St. Anthony. c.1520.

• Specialization and collaboration with figure painters; added value of two different artists, each displaying his own speciality

Joos van Cleve and landscape Collaborator. Triptych of the Crucifixion, St. Paul, and Donor. c.1520.

• landscape appears to be done by an artist coming out of Patinir's workshop; definition of landscape of speciality is flexible; doesn't completely split off from the rest of the Netherlands work

Joachim Patinir. St. John the Baptist Baptizing Christ. c. 1520

• Characteristic rock formations with river flowing around it; such landscapes are seen around south Belgium--> element of nature in his work which becomes a constant in Flemish painting in the next century

Herri met de Bles. Christ Carrying the Cross. 1540.

• Workshop which resembled a factory in its output- different prices for different levels of skill; outcropping as a presence of evil; constructed in three parts: reddish brown--> green--> blue
• rock outcropping, rivers and trees in distance
• predicable variety

Jan Gossaert. Married Couple (eldery couple in real life). c.1520.

• probably a court officiail with his wife; Hierarchy established in painting; male placed above the wife--on superior right side

Jacob Cornelisz vanOostzanen (Amsterdam). Artist and His Wife. 1530

• unique relationship; wife is only a painting (dehumanized), but yet a strong presence in the piece
  

Frans Floris. Portrait of the Van Berchem Family. 1561.

• Group family portrait of many generations; symbols used to characterize relationship of family; concert=harmony; instruments played by gender (each playing proper role to create harmony)
• food on table shows abundance and prosperity
• dead patriarch of family on wall--> portrait as record of family history--> importance of genealogy and descent in cities

Jan van Scorel. Members of the Knightly Confraternity of Jersualem Pilgrims of Haarlem. c. 1525.

• men who went to Jerusalem
• Identified by coat of arms and inscription below; highlighted by palms they are holding; factotum holds a cross-section of a church in Jerusalem
• organization of portrait in procession ties to the purpose; figures looking out and engaging with the viewer
• Jan van scorel himself is in the painting because he was a member of the fraternity
  

Dirck Jacobsz. Officers of Amsterdam Musketeers Company. Center 1529. Sides 1552. (really called "a group of guardsmen")

• shows the officers with their guns as individuals who confront the viewer
• keeping of individual identity while unified as a group; no religious undertones; no saint clarifying their purpose
• 1530 strong shakeup of city governemnt caused by threatened anarchy by anabaptists cause need for military vigilance

Cornelis Anthonisz. Banquet of the Amsterdam Cross Bow Guild of St. George. 1533.

• Seated around a table; stained glass shows St. George; individual characters gesturing from one to another

Catherine van Hemessen. Self Portrait. 1548.

• As artists gain status, they explore their own image; shows age and identity as painter; female artist painting her own self portrait refers back to Pliny the Elder (Marcia)

Cornelis Floris. Antwerp Town Hall. 1561-5.

• proclamation of a new order, connection with the rest of Europe--> Antwerp proclaiming itself as a cetner
• Rusticated columns, corinthian, doric, ionic
• Signboard of display: Justice, Prudence, (two main virtues of the government to rule), crest, eagle of the Hapsburgs, sea gods on either side signify Antwerp's reliance on maritime trade--> rich symbolism of government; replace of Virign marks an attempt to separate Church and state, centurion of Brabo placed instead

Frans Floris (engraving after). Allegory of Painting, Architecture, and Sculpture Among the Liberal Arts. 1576.

• illusionistic frescos
• elements are "necessary for human society"
• poetry embracing painting- symbolizes the highest art, grammer and rhetoric are behind them
  

Cornelis Floris (drawing after). House and Studio of Frans Floris. 1562.

• Display of new status and position of art
• Made with same antique orders (Doric, ornamented capitals, ionic); illusionistic frescos of sculptures--> different virtues and values

Pieter Coecke van Aelst. Last Supper. 1531.

• Exemplifies the concerned effort to incorporate Italian art in his own painting
• shows reaction of apostles to Christ's proclamation that one of them will betray him
• History painting in idealized terms, references da Vinci's painting; variety and unity of apostles; perspective grid
• Bruegel's teacher

Pieter Bruegel the Elder. River Landscape. 1552.

• new elements of graphic means, curving parallel hatching; heaviness of touch in foreground and lighter in background
• connect to Michelangelo's awakening of the slaves b/c  paper as a unifed mater that pen takes away from/ shapes
  

Giulio Clovio. Last Judgment. c.1550. Water colors on parchment. Towneley Lectionary.

• Bruegel might have collaborated with landscape

Pieter Bruegel the Elder. (Joannes and Lucas van Doetecum after). Alpine Landscape. 1555.

• Designer of prints for Cock; part of a series of 12 prints

Pieter Breugel the Elder. Alpine View. c.1553

Pieter Bruegel the Elder. Big fish eat little fish. 1556. [also Pieter van der Heyden's engraving after, 1556].

• Comical anecdotes; Bosch marked as inventor to attract buys
• Proverb: "Little fish are the food of big ones/ Look son, I have known for a long time that big fish each the small"- abundant repitition to drive home the message
  
• City of Antwerp in the back connects proverb to society
• Boschian imagery; uses a very different style of drawing that he had used in the landscapes--picks up nervous pointed style of Bosch
• print has identical composition as drawing
  

Pieter Bruegel the Elder. The Battle of Carnival and Lent,. 1559.

• Offers a feast to the eye: Carnival seated on a beer keg vs. Lent pulled by a monk and nun
• Fatty food vs. pretzels and fish
• Blue ship Inn vs. Church as headquarters
• Display of lost folk tradiitons; progression of a clock of urban festivals from Christmas to Easter
• timeline shown in trees 

Pieter Breugel the Elder. Fall of the Rebel Angels. 1562.

• Spilling out from the blinding light of God, cornucopia of monsters--metamorphisis of angels into demons shows every type of combination; angels shown in purposely archaic style; makes a self conscious contrast to ideal italiante figures

Pieter Bruegel the Elder. The Dirty Bride or The Wedding of Mopsus and Nisa. 1570. (this is THE DRAWING, the engraving by Pieter van der Heyden is the actual image)

• street play in carnival
• parody of pastural idea of beauty; inscription in Latin from Virgil's poems; audience would have been a learned humanist group (If Mopsus is given to Nisa (a nymph), what might we not for, lovers?- parody of the quote, shows them to be crude and laughable
  

Pieter Breugel the Elder. Cripples. 1566.

• Group isolated from Carnival; placed in a hospital quarter; gives more weight and volume which increases their seriousness; deformity turns into a living grotesque; subject would have been seen as funny with an element of moral commentary (beggars were seen as deceivers); hats identify them as different states of society (bishop, military, bourgeois, peasents)
  
• relationship of figures to space: bodies contorted in pain; figure looks outward=desire for escape and a view of the world outside
  

Pieter Bruegel the Elder. Dulle Griet. 1562.

• Continuation of Bosch-like forms through combination of animal and change of perspective (tilted up); "Mad Meg" an aggresive military figure plundering hell along with a troupe of housewives--force and power of women
  
• schrewish woman so full of anger that she is capable of conquering the devil- social satire and comedy
  
• Kind of womanly anger

Pieter Bruegel the Elder. Proverbs. 1559.

• illustrates the many proverbs that were part of humanist culture or commonsense knowledge
  
• triology with children's games and battle of carnival
  

Pieter Bruegel the Elder. Flight into Egypt. 1563.

• continuation of landscapes (expansive alpine views) but inclusion of narrative as well--> high foreground which drops off suggesting precipitous height is typical of Bruegel; gives great attention to the craggy rocks--painting in the same conventions set up by Patinir
• Lighter background; river provides mode of transportation of the eye; suggests all four elements combined with the spiritual 

Pieter Bruegel the Elder (Pieter van der Heyden, after). Summer. 1570.

• "July, August and also June make summer"
• shows activity typical of the months

Pieter Bruegel the Elder. Hunters in the Snow. 1565.

• November and December
• Slaughtering of a pig; people ice-skating; same idea of a high point in the foreground that drops off into the backgorund; treatment of color suggests temperature and feeling of the season--> sympathetic evolution of man with nature--> colors purposely tapped down to convey nature (brown to grey to black); shows covered trees, beautiful silhouettes; shows games of the season
• rhythm of the silhouettes of the trees against the sky emphasized
  

Pieter Bruegel the Elder. The Harvesters. 1565.

• Shows conventional images of each month; monumentalizes these scenes and eliminates the obvious and constant presence of aristocracy
• Not democratizing: still landowner looking at the paintings

Pieter Bruegel the Elder. Massacre of the Innocents. 1564.

• political opinions in later painting- dating is critical, but controversial- revolution and bloody repression is in 1566/7, so if after that date, could be a reflection of this repression and construed as a soical commentary
  
• living in the midst of a revolution which overthrows religious order; after Christ's birth, Hera King of Jews is afraid of being superceded; cluster of calvary becomes center of painting around which everything else revolves; other soldiers are breaking down doors and killing children--> painting later becomes heavily political (painted over!)

Pieter Bruegel the Elder. St. John the Baptist Preaching. 1567.

• coincided with a collapse of Spanish power--> Calvinists flooded back into the Netherlands
• Calvinist preachers would gather groups outside city walls in important mass displays of religious and political opposition "hedge-preachings"- veiled celebration of this
  
• Bruegel shows a variety of characters from different backgrounds, each has drastically different reactions, all different classes, shows events of the time in a disguised way

Pieter Bruegel the Elder. The Magpie on the Gallows. 1568.

• magpie=bird like a crow, meant the gossip who informed on protestants, delivering them to the gallows, suggests Bruegel's anger at those who informed, political edge