Dating den bosch
To come to this town now is to be immersed in Bosch’s world, which might seem a nightmare if you know his work only by glimpsing his visions of Hell and his curious notion of “earthly delights” populated by tortured souls and outlandish creatures.Certainly, the dance production choreographed by Nanine Linnning, “between hell and paradise,” as the program tells us, is a surreal rendition of the seductive terror in a nightmare: human earwigs, fish-headed knights, knocked-up Medieval ladies, tortured men hung on rings or climbing through cages.centuries was right on the cusp of the Renaissance, when the stiff, stylized formality of Medieval art exploded with humanity. His paintings were a precursor of Breughel the Elder, on the one hand.(“About suffering they were never wrong, the old Masters,” as W. Auden wrote.) More obvious to us today, his dream-like imagery foreshadowed the work of surrealists 400 years later.
anniversary of his death, starting this weekend, with three months of festivities inspired by his work and what is certainly the most extraordinary collection of his paintings—20 of 24—ever assembled.
One might surmise, and this is rather surprising, that his work, which sometimes bordered on the heretical, was accepted at the time because he, as a man, as a “brother,” was such a staunch pillar of the community.
In the age of psychedelia, in the 1960s, Bosch’s work became iconic on album covers for, among others, Deep Purple and Pearls Before Swine.
To this day, any fetishist must be fascinated by his curious treatment of the human backside.
The answer to the first question, in very general terms, we know.He was born around 1450 into a family of painters whose name was van Aken, meaning “from Aachen,” although they had lived in ‘s Hertogenbosch, the duke’s woods, also called Den Bosch, also called Bois-le-Duc, for generations.