Kunst bij Jimmink

Infernal Landscape

Original drawing by Jheronimus Bosch

31 oktober 2015

Experts hebben een nieuwe tekening van Jheronimus Bosch ontdekt. Tegelijk maakten ze bekend dat twee schilderijen die aan de meester werden toegeschreven, niet van Bosch blijken te zijn.

De tekening Hellelandschap, die in privé-bezit is, is door het Bosch Research and Conservation Project (BRCP) herkend als authentiek van Bosch. Tot nu toe werd gedacht dat het werk met fantasie-monsters en gedrochten van een medewerker was van een kunstenaar die in het atelier van de beroemde kunstenaar werkte.

De tekening is voor het eerst te zien op de grote overzichtstentoonstelling 'Jheronimus Bosch-Visioenen van een genie' die op 13 februari volgend jaar opent in het Noordbrabants Museum in Den Bosch.

Na jaren van onderzoek concluderen de experts ook dat het schilderij Kruisdraging van Christus in het Museum voor Schone Kunsten in Gent geen werk van Bosch is. Over het werk de Zeven Hoofdzonden in het Prado in Madrid hebben ze eveneens hun twijfels maar dat werk is door het BRCP niet zo grondig onderzocht, zoals dat met het werk uit Gent is gebeurd. Daarvoor kwam geen toestemming uit Spanje.

Argumenten

''Na het vergelijken van allerlei gegevens ontbreekt het aan argumenten om beide panelen wel aan Bosch toe te schrijven'', zegt BRCP-onderzoeker Matthijs Ilsink.

Bij de tekening gaat het juist wel om werk van de hand van de meester zelf. ''Het is het visueel schouwspel dat we boschiaans zijn gaan noemen en ook tegenkomen in Bosch’ schilderijen met hellescènes, zoals de Tuin der Lusten en de Laatste Oordeeltriptieken.''

Original drawing by Jheronimus Bosch around 1500-05

Infernal Landscape

Type: Pen and brown ink

Size: 25.9 x 19.7 cm

Infernal Landscape previously thought to have been made by an assistant in the workshop of medieval Dutch artist Jheronimus Bosch has been authenticated as a piece by the master himself by the Bosch Research and Conservation Project (BRCP). The BRCP is an international art history study that has been researching, analyzing and documenting the oeuvre of the medieval master since 2010.

Technology reveals the truth “It’s not just a ‘successful pastiche’, as some have called it. I’ve seen quite a few of these, and 99% of the time, they are not very inspiring,” Ilsink says. “This one is very, very good.” He says the argument that the work is “too Bosch to be by Bosch” does not hold water, given the fact that other, equally “Boschian” drawings—including Tree Man (around 1505) in Vienna’s Albertina—are considered to be authentic works. “You can’t blame Bosch for being too Bosch,” he says BRCP-researcher Matthijs Ilsink.

Jheroniums Bosch ask here more information

This "Man in basket" can be found as underdrawing of the most famous painting by Bosch "Garden of Earthly Delights" (1500-05) in the Prado.

Infrared reflectography and ultra-high-resolution digital macro photography, in infrared and visible light, were used to document the work. The paper, handwriting and inks were compared with drawings from important collections in Berlin, Vienna, Paris and Rotterdam. X-rays revealed links between figures in Infernal Landscape and those hidden beneath the paint layers of other works. For example, the man in a basket is similar to one in an underdrawing on the “Hell wing” of the artist’s famous work Garden of Earthly Delights (1500-05), in the Museo del Prado, Madrid.

Ilsink says that Bosch often changed his mind as he worked, so his paintings have a lot of overpaint and underdrawings. “Someone creating a pastiche of his works wouldn’t have access to these earlier versions,” Ilsink says. He admits that some might argue that Infernal Landscape was made in the artist’s workshop, but he does not believe this to be the case.

A feasting group of Jews

Giovan Paolo Lomazzo

details

Probably circle of Giovan Paolo Lomazzo (Milan 1538-1592)

Oil on canvas 97 x 132 cm

A feasting group of Jews, making music with a tsimbl and a modern violin (invented in 1555 by Andrea Amati in Cremona)

Expertise report available.

Lomazzo ask here for expertise report

compare with other work by Lomazo

Drie mannen met een vrouw die een ekster vasthoudt

Een deel van onze kunstafdeling in de Literaire Salon

Set of 16 miniatures from the lives of the Virgin Mary and Jesus

Jan Brueghel the Elder (Flemish, 1568–1625)

tempera on vellum

Size: 7.4 x 4.8 cm. (2.9 x 1.9 in.)

Jan Brueghel (also Bruegel or Breughel) the Elder 1568 – 13 January 1625)

A Flemish painter and draughtsman. He was the son of the eminent Flemish Renaissance painter Pieter Bruegel the Elder. A close friend and frequent collaborator with Peter Paul Rubens, the two artists were the leading Flemish painters in the first three decades of the 17th century.

Brueghel worked in many genres including history paintings, flower still lifes, allegorical and mythological scenes, landscapes and seascapes, hunting pieces, village scenes, battle scenes and scenes of hellfire and the underworld. He was an important innovator who invented new types of paintings such as flower garland paintings, paradise landscapes, and gallery paintings in the first quarter of the 17th century.

He further created genre paintings that were imitations, pastiches and reworkings of his father's works, in particular his father's genre scenes and landscapes with peasants. Brueghel represented the type of the pictor doctus, the erudite painter whose works are informed by the religious motifs and aspirations of the Catholic Counter-Reformation as well as the scientific revolution with its interest in accurate description and classification. He was court painter of the Archduke and Duchess Albrecht and Isabella, the governors of the Habsburg Netherlands.

The artist was nicknamed "Velvet" Brueghel, "Flower" Brueghel, and "Paradise" Brueghel. The first is believed to have been given him because of his mastery in the rendering of fabrics. The second nickname is a reference to his specialization in flower still lifes and the last one to his invention of the genre of the paradise landscape. His brother Pieter Brueghel the Younger was traditionally nicknamed "de helse Brueghel" or "Hell Brueghel" because it was believed he was the author of a number of paintings with fantastic depictions of fire and grotesque imagery. These paintings have now been reattributed to Jan Brueghel the Elder.

Jan Brueghel the Elder ask here for more information

Lucebert

Kunstenaar: Lucebert (1924-1994) geniet bekendheid als voorman van de Vijftigers, maar met zijn figuratief-expressionistisch beeldend werk ook als exponent van de Cobra-beweging. Zijn werk is o.m. vertegenwoordigd in het Stedelijk Museum Amsterdam, Stedelijk Museum in Schiedam en het Cobra Museum.

Zwerver aan zee

Jaar: 1987.

Techniek: zeefdruk.

Oplage: 39/40.

Afmeting afbeelding: 61×45 cm.

Afmeting papier: 70×53 cm.

Signatuur: r.o. met potlood.