Hieronymus Bosch. Alchemy and simbolism in his art? Some bibliography?

Question

Hieronymus Bosch. Alchemy and simbolism in his art? Some bibliography?

Answer 1

Hieronymus Bosch (c1450-1516) was one of the late great medieval Dutch painters. Very little is known of his life, religious beliefs, or philosophy, but he is most well known for his painting of fantastic images and for his concentration of medieval symbols. Many scholars have tried to interpret the images and symbols in his paintings, but these interpretations often disagree with one another, resulting in speculations that are often contradictory. Thus, these images and symbols continue to fascinate and puzzle us today as the search for their meaning continues.

Jeroen Anthoniszoon van Aken (Bosch's orginal name) was born in 's Hertogenbosch in present-day Holland, near the Belgium border around 1450. It is assumed that his name "jheronymus" was chosen due to the family fondness for the patron Saint Hieronymous (St Jerome). Apparently, he used his town's name Bosch to identify and distinguish himself from the rest of his family. Joen or Jeroen (his more familiar names) was born as the fourth child of five into a family of painters in the Dutch tradition, and thus probably learned his technique from his father, Antonius van Aken, who was a professional painter. The Aken family came from Aachen in Germany; from which came their surname. 's Hertogenbosch is a small provincial town far from the centers of culture; so, it seems unusual that such a great artist lived and worked there. As an adult he became a church cleric and a lay member of the Brotherhood of Our Lady (a Virgin-Mary cult). The fraternity had a white swan as its emblem, which is curious considering its sacriligious use in his paintings. Bosch married Aleid van de Meerenne, who came from a prosperous middle-class family, around July 15, 1481.They had no children, but it is likely that he lived a comfortable life and may have enjoyed considerable artistic freedom. He created art that was replete with moral images and messages, containing symbols of warning and retribution for leading an immoral life. He died in his home town in 1516. Such important aspects as the dating and order of his works are unknown. Even the authenticity of many works is disputed. He had many imitators and his influence was recognized.

Alchemy symbols provide us with a wide variety of insight into the potential transformation of the human landscape – both internal and external.  

Consequently, putting the science of alchemy together with its underlying philosphy of inner transformation, opens up a broad range of power in our lives. Understanding this tradition's symbol meanings is a first step in accessing that power.

The world of alchemy signs is rife with deeper (hidden) meanings. Many are used to define elements as well as conditions of the spirit. Planetary symbols and animal signs were also used in alchemy to define elements.

Webster's dictionary defines alchemy as "any seemingly magical process of transmuting ordinary materials into something of true merit."

A little history: The roots of alchemy can be traced back to Egypt. The word alchemy may be derived from the Arabic "al kimiya" meaning "the magical craft of the black country."

Ancient Egyptians were master metalworkers and believed that magic powers were contained in all matter. This is significant as we discover the double meanings behind elemental symbols.

When Egypt was conquered by the Arabs, they took the science back with them to Spain. From there, the science of alchemy along with the knowledge of alchemy signs spread to England, France and Germany.

Alchemy can be credited for being the foundation of modern-day chemistry. But more than science, alchemy represents the spiritual progress of humanity.

Ancient alchemists were evolved thinkers, combining efforts to transform matter to another form – all the while having an internal goal of transforming the heart and soul of mankind into another form.

Alchemy symbols provide us with understanding and clarity of thought when focused upon. When the mind focuses on symbols, answers inevitably come.

Bibliography

Baldass, Ludwig von. Hieronymus Bosch. New York: Harry N. Abrams,

    Inc., 1960.    

Bax, D. Hieronymus Bosch. Rotterdam: A.A. Balkema, 1979.

Beagle, Peter S. The Garden Of Earthly Delight.  New York: The Viking

    Press, 1982.

Bergman, Madeleine. Hieronymus Bosch and Alchemy: A Study on the

    St. Anthony Triptych. Stockholm: Almquist & Wiksell International,

    1979.

Beuningen, Charles van. The Complete Drawings of Hieronymus Bosch.  

    New York: St. Martin's Press, 1973.

Bosch, Hieronymus. Jheronimus Bosch [Catalogue of an Exhibition held

    Noordbrabants Museum, `s-Hertogenbosch, Netherlands, 17

    september - 15 november 1967. s'-Hertogenbosch, Netherlands:

    Hieronymus Bosch Exhibition Foundation, 1967.    

Bussagli, Mario. Bosch. New York: Grosset & Dunlap, 1967.

Cinotti, Mia. The Complete Paintings of Bosch. New York: Harry N.



    Abrams, Inc., 1966.

Combe, Jacques. Jerome Bosch. Paris: Editions Pierre Tisn¾, 1957.

Daniel, Howard. Hieronymus Bosch. New York: The Hyperion Press, 1947.

Delevoy, Robert, L. Bosch. New York: Crow Publishers, Inc., 1960.

Dixon, Laurinda, S. Alchemical Imagery in Bosch's Garden of Delights.

    Ann Arbor, Michigan: UMI Research Press, 1980.

Elkins, James. "On the Unimportance of Alchemy in Western Painting."

    Konsthistorisk tidskrift; revy fÀor konst och konstforskning 61(1992):

    21-6.    

Franger, Wilhelm. The Millennium of Hieronymus Bosch. London: Faber

    And Faber, Limited, 1952.

Friedlander, Max. Early Netherlandish Painting: From Van Eyck to Bruegel.

    New York: Phaidon Publishers, Inc., 1956.

Friedlander, Max. Early Netherlandish Painting Vol V: Geertgen tot Sint

    Jans and Jerome Bosch. Leyden, The Netherlands: A.W. Sijthoff,

    1969.  

Gibson, Walter S. Hieronymus Bosch.  New York, Washington: Prager

    Publishers, 1973.

Guillaud, Jacqueline and Maurice. Bosch: The Garden of Earthly Delights.

    New York: Clarkson N. Potter, Inc., 1989.

Harris, Lynda. The Secret Heresy of Hieronymus Bosch. Edinburgh: Floris

    Books, 1995.

Hemphill, R.E. "The personality and problem of Hieronymus Bosch."

    Offprint: Proceedings of the Royal Society of Medicine 58 (Feb.

    1965): 137-144.

Jowell, Frances. "The paintings of Hieronymus Bosch." Offprint:

    Proceedings of the Royal Society of Medicine 58 (Feb. 1965): 131-

    136.

Linfert, Carl. Hieronymus Bosch. New York: Harry N. Abrams, Inc., 1971.

Martin, Gregory. Hieronymus Bosch. New York: St. Martin's Press, 1979.

Merten, Ernst. Hieronymus Bosch. Bristol, England: Artlines UK, Ltd.,

    1988.

Mullins, Edwin B. "The Despair of Hieronymus Bosch." The Daily

    Telegraph London: Oct. 10,1966. 52-56.

Orienti, Susan and Rene de Solier. Hieronymus Bosch. New York: Crescent

    Books, 1979.  

Rooth, Anna Birgitta. Exploring the Garen of Delights: Essays in Bosch's

    Paintings and the Medieval Mental Culture. Helsinki: Academia

    Scientiarum Fennica, 1992.

Schwartz, Gary. Hieronymus Bosch: First Impressions. New York: Harry

    N. Abrams, Inc., 1997.

Snyder, James, ed. Bosch in Perspective. Englewood Cliffs, N.J.: Prentiss

    Hall, Inc., 1973.

Staniº, Micheal M. Hieronymus Bosch. London: Tiger Books International

    Limited, 1988.

So this should about cover it!!

Good luck!