La nef des fous jerome bosch biography
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Insanity and art
To explain representation of insanity in art, we must first study painting. Numerous pictorial works reveal valuable information to historians about society in their time. Paintings that represented insanity depict how a madman, marginal character was perceived by contemporaries. Today Artsper analyses insanity and art based on three painters’ work who studied and interpreted mental illness through the ages and different viewpoints.
Jérome Bosch
In his painting La nef des fous, Jerome Bosch represents decadent clergy members sailing on a boat. Even if they are not insane per se, the composition painted by Bosch includes a number of symbolic objects that reveal their depravity and insanity. A nun and a monk, playing the mandolin, are about to eat a piece of meat by biting directly in it. On the right hand side of this debauched banquet, a man is represented vomiting in the sea. Strong criticism of clergy, Bosch exaggerates certain known immoralities of priesthood. Another element of this painting that indicates dementia is the fact that no one seems to be conducting this boat. The path of this boat is more than uncertain. La Nef des Fou is indeed a call to order addressed to a society in the midst of a religious crisis. This representation
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Description of representation artwork «Ship of fools»
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Ship of Fools (painting)
Painting by Hieronymus Bosch
Ship of Fools (painted c. 1490–1500) is a painting by the Early Netherlandish artist Hieronymus Bosch, now in the Musée du Louvre, Paris. Camille Benoit donated it in 1918. The Louvre restored it in 2015. The surviving painting is a fragment of a triptych that was cut into several parts. This piece, originally part of a larger body of work relating to the seven deadly sins, depicts the sin of gluttony.[1]The Ship of Fools was painted on one of the wings of the altarpiece, and is about two-thirds of its original length. The bottom third of the panel belongs to Yale University Art Gallery and is exhibited under the title Allegory of Gluttony. The other wing, which has more or less retained its full length, is the Death and the Miser, now in the National Gallery of Art, Washington, D.C. The two panels together would have represented the two extremes of prodigality and miserliness, condemning and caricaturing both. The Wayfarer (Rotterdam) was painted on the right panel rear of the triptych. The central panel, if it existed, is unknown.
Dating/provenance
[edit]Dendrochronological study has dated the wood to 1491, and it is tempting to see the painting as a response to Sebastian Brant's Das Narr