His most famous triptych is the The Garden of Earthly Delights (c. 1495–1505) whose outer panels are intended to bracket the main central panel between the Garden of Eden depicted on the left panel and the Last Judgment depicted on the right panel. It is attributed by Fischer as a transition painting rendered by Bosch from between his middle period and his late period. In the left hand panel God presents Eve to Adam; innovatively God is given a youthful appearance. The figures are set in a landscape populated by exotic animals and unusual semi-organic hut-shaped forms. The central panel is a broad panorama teeming with socially engaged nude figures seemingly engaged in innocent, self-absorbed joy, as well as fantastical animals, oversized fruit and hybrid stone formations.
The right panel presents a hellscape; a world in which humankind has succumbed to the temptations of evil and is reaping eternal damnation. Set at night, the panel features cold colours, tortured figures and frozen waterways. The nakedness of the human figures has lost any eroticism suggested in the central panel, as large explosions in the background throw light through the city gate and spill onto the water in the panel’s midground.
**
Hieronymus Bosch (/ˌhaɪ.əˈrɒnᵻməs ˈbɒʃ/; Dutch: [ɦijeːˈroːnimɵz ˈbɔs]; born Jheronimus van Aken [jeːˈroːnimɵs fɑn ˈaːkə(n)]; c. 1450 – 9 August 1516) was an Early Netherlandish painter. His work is known for its fantastic imagery, detailed landscapes, and illustrations of religious concepts and narratives. Within his lifetime his work was collected in the Netherlands, Austria, and Spain, and widely copied, especially his macabre and nightmarish depictions of hell.
Little is known of Bosch’s life, though there are some records. He spent most of it in the town of ‘s-Hertogenbosch, where he was born in his grandfather’s house. The roots of his forefathers are in Nijmegen and Aachen (which is visible in his surname: Van Aken). His pessimistic and fantastical style cast a wide influence on northern art of the 16th century, with Pieter Bruegel the Elder being his best known follower. His paintings have been difficult to translate from a modern point of view; attempts to associate instances of modern sexual imagery with fringe sects or the occult have largely failed. Today he is seen as a hugely individualistic painter with deep insight into humanity’s desires and deepest fears. Attribution has been especially difficult; today only about 25 paintings are confidently given to his hand along with 8 drawings. Approximately another half dozen paintings are confidently attributed to his workshop. His most acclaimed works consist of a few triptych altarpieces, the most outstanding of which is The Garden of Earthly Delights.
Before he grew up to be the Academy Awards’ perennial near-favourite, baby Leonardo DiCaprio slumbered beneath a reproduction of the “Garden of Earthly Delights” by 15th-century Dutch painter Hieronymus Bosch.
The vibrant triptych depicts, in separate panels: Adam, Eve and the creation of man; a landscape of joyful lovemaking; and a vision of hell. The sin-filled portrait clearly made a striking impression on the young DiCaprio, as it’s what he chose to present during a most holy meeting Thursday.
“The Revenant” actor and multiple Oscar nominee met with Pope Francis in the Vatican to discuss their mutual passion for the environment. According to the Vatican Insider, a website of the Italian newspaper La Stampa, the morning meeting lasted about 15 minutes.
“Your Holiness, thank you for granting me this private audience with you,” DiCaprio said in Italian, the Associated Press reported, before kissing the pope’s ring inside the Apostolic Palace.
The Hollywood, Calif., native is half-Italian, as his father’s family is from Naples.
Then, in English, DiCaprio gave Francis a book of works by Bosch, flipping to the page with the “Garden of Earthly Delights.” The painting hung over his crib, DiCaprio said, inspiring a sophisticated reflection from his infant self.
“As a child I didn’t quite understand what it all meant,” DiCaprio told His Holiness, “but through my child’s eyes it represented a planet, the utopia we had been given, the overpopulation, excesses, and the third panel we see a blackened sky that represents so much to me of what’s going on in the environment.”
The painting also represented Francis’s environmental concerns, DiCaprio added.
The Associated Press reported that an assistant then handed the pontiff an envelope containing a cheque for charitable projects “close to your heart.” Francis in turn gave DiCaprio a leather-bound copy of “Laudato Si,” his second encyclical, and his “The Joy of the Gospel.”
The encyclical, published last summer, laments “the tragic effects of global environmental deterioration,” urging immediate action toward the protection of “our common home.”
Francis says young people are demanding change in this regard, but they have been stymied “not only because of powerful opposition but also because of a more general lack of interest.”
For DiCaprio’s part, the actor and producer has long been an outspoken environmental activist. Just last week he spoke at the World Economic Forum in Davos, Switzerland, where he announced that his sustainability foundation was donating $15 million (U.S.) to environmental projects.
A year ago, fellow A-lister Angelie Jolie also shook Pope Francis’s hand after her film Unbroken was screened at the Vatican. But the encounter was more a publicity stunt than a formal meeting, whereas DiCaprio had a private audience with the pontiff.
He has thus far practiced the Catholic virtue of humility, having stayed quiet about the visit. Also in attendance were DiCaprio’s father, George DiCaprio, and Milutin Gatsby, the Leonardo DiCaprio Foundation’s global fundraising chair.
The Garden of Earthly Delights in the Museo del Prado in Madrid, c. 1495–1505, attributed to Bosch.
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Hieronymus_Bosch
Wikipedia
https://en.wikipedia.org/wiki/Hieronymus_Bosch
His most famous triptych is the The Garden of Earthly Delights (c. 1495–1505) whose outer panels are intended to bracket the main central panel between the Garden of Eden depicted on the left panel and the Last Judgment depicted on the right panel. It is attributed by Fischer as a transition painting rendered by Bosch from between his middle period and his late period. In the left hand panel God presents Eve to Adam; innovatively God is given a youthful appearance. The figures are set in a landscape populated by exotic animals and unusual semi-organic hut-shaped forms. The central panel is a broad panorama teeming with socially engaged nude figures seemingly engaged in innocent, self-absorbed joy, as well as fantastical animals, oversized fruit and hybrid stone formations.
The right panel presents a hellscape; a world in which humankind has succumbed to the temptations of evil and is reaping eternal damnation. Set at night, the panel features cold colours, tortured figures and frozen waterways. The nakedness of the human figures has lost any eroticism suggested in the central panel, as large explosions in the background throw light through the city gate and spill onto the water in the panel’s midground.
**
Hieronymus Bosch (/ˌhaɪ.əˈrɒnᵻməs ˈbɒʃ/; Dutch: [ɦijeːˈroːnimɵz ˈbɔs]; born Jheronimus van Aken [jeːˈroːnimɵs fɑn ˈaːkə(n)]; c. 1450 – 9 August 1516) was an Early Netherlandish painter. His work is known for its fantastic imagery, detailed landscapes, and illustrations of religious concepts and narratives. Within his lifetime his work was collected in the Netherlands, Austria, and Spain, and widely copied, especially his macabre and nightmarish depictions of hell.
Little is known of Bosch’s life, though there are some records. He spent most of it in the town of ‘s-Hertogenbosch, where he was born in his grandfather’s house. The roots of his forefathers are in Nijmegen and Aachen (which is visible in his surname: Van Aken). His pessimistic and fantastical style cast a wide influence on northern art of the 16th century, with Pieter Bruegel the Elder being his best known follower. His paintings have been difficult to translate from a modern point of view; attempts to associate instances of modern sexual imagery with fringe sects or the occult have largely failed. Today he is seen as a hugely individualistic painter with deep insight into humanity’s desires and deepest fears. Attribution has been especially difficult; today only about 25 paintings are confidently given to his hand along with 8 drawings. Approximately another half dozen paintings are confidently attributed to his workshop. His most acclaimed works consist of a few triptych altarpieces, the most outstanding of which is The Garden of Earthly Delights.
What Leonardo DiCaprio, Pope Francis talked about at private meeting
Actor told the Pontiff of learning key lessons for life when gazing up from his crib at the famous painting Garden of Earthly Delights.
by Yanan Wang
https://www.thestar.com/entertainment/2016/01/29/what-leonardo-dicaprio-pope-francis-talked-about-at-private-meeting.html
Before he grew up to be the Academy Awards’ perennial near-favourite, baby Leonardo DiCaprio slumbered beneath a reproduction of the “Garden of Earthly Delights” by 15th-century Dutch painter Hieronymus Bosch.
The vibrant triptych depicts, in separate panels: Adam, Eve and the creation of man; a landscape of joyful lovemaking; and a vision of hell. The sin-filled portrait clearly made a striking impression on the young DiCaprio, as it’s what he chose to present during a most holy meeting Thursday.
“The Revenant” actor and multiple Oscar nominee met with Pope Francis in the Vatican to discuss their mutual passion for the environment. According to the Vatican Insider, a website of the Italian newspaper La Stampa, the morning meeting lasted about 15 minutes.
“Your Holiness, thank you for granting me this private audience with you,” DiCaprio said in Italian, the Associated Press reported, before kissing the pope’s ring inside the Apostolic Palace.
The Hollywood, Calif., native is half-Italian, as his father’s family is from Naples.
Then, in English, DiCaprio gave Francis a book of works by Bosch, flipping to the page with the “Garden of Earthly Delights.” The painting hung over his crib, DiCaprio said, inspiring a sophisticated reflection from his infant self.
“As a child I didn’t quite understand what it all meant,” DiCaprio told His Holiness, “but through my child’s eyes it represented a planet, the utopia we had been given, the overpopulation, excesses, and the third panel we see a blackened sky that represents so much to me of what’s going on in the environment.”
The painting also represented Francis’s environmental concerns, DiCaprio added.
The Associated Press reported that an assistant then handed the pontiff an envelope containing a cheque for charitable projects “close to your heart.” Francis in turn gave DiCaprio a leather-bound copy of “Laudato Si,” his second encyclical, and his “The Joy of the Gospel.”
The encyclical, published last summer, laments “the tragic effects of global environmental deterioration,” urging immediate action toward the protection of “our common home.”
Francis says young people are demanding change in this regard, but they have been stymied “not only because of powerful opposition but also because of a more general lack of interest.”
For DiCaprio’s part, the actor and producer has long been an outspoken environmental activist. Just last week he spoke at the World Economic Forum in Davos, Switzerland, where he announced that his sustainability foundation was donating $15 million (U.S.) to environmental projects.
A year ago, fellow A-lister Angelie Jolie also shook Pope Francis’s hand after her film Unbroken was screened at the Vatican. But the encounter was more a publicity stunt than a formal meeting, whereas DiCaprio had a private audience with the pontiff.
He has thus far practiced the Catholic virtue of humility, having stayed quiet about the visit. Also in attendance were DiCaprio’s father, George DiCaprio, and Milutin Gatsby, the Leonardo DiCaprio Foundation’s global fundraising chair.