Netherlandish Northern Renaissance Painter, ca.1450-1516 Bosch produced several triptychs. Among his most famous is The Garden of Earthly Delights. This painting depicts paradise with Adam and Eve and many wondrous animals on the left panel, the earthly delights with numerous nude figures and tremendous fruit and birds on the middle panel, and hell with depictions of fantastic punishments of the various types of sinners on the right panel. When the exterior panels are closed the viewer can see, painted in grisaille, God creating the Earth. These paintings have a rough surface from the application of paint; this contrasts with the traditional Flemish style of paintings, where the smooth surface attempts to hide the fact that the painting is man-made. Bosch never dated his paintings and may have signed only some of them (other signatures are certainly not his). Fewer than 25 paintings remain today that can be attributed to him. Philip II of Spain acquired many of Bosch's paintings after the painter's death; as a result, the Prado Museum in Madrid now owns several of his works, including The Garden of Earthly Delights.   Related Paintings of BOSCH, Hieronymus :. | Christ Carrying the Cross | The adoration of the three Kings | Last Judgement (fragment) inp | Crucifixion with a Donor hgkl | The Man-Tree bfguty |
Related Artists:
Apollonio di Giovanni
ca.1415-1465 Italian painter and illuminator. He was trained by illuminators in the circle of Bartolomeo di Fruosino and Battista di Biagio Sanguini (1393?C1451) and became a member of the Arte dei Medici e degli Speziali in 1442 and of the Compania di S Luca in 1443. Apollonio was influenced by Filippo Lippi, Lorenzo Ghiberti and Paolo Uccello.
Miranda, Juan Carreno de
Spanish, 1614-1685 was a Spanish painter of the Baroque period. Born in Avil's in Asturias, son of a painter with the same name, Juan Carreño de Miranda. His family moved to Madrid in 1623, and he trained in Madrid during the late 1620s as an apprentice to Pedro de Las Cuevas and Bartolom Roman. He came to the notice of Velezquez for his work in the cloister of Doña Maria de Aragen and in the church of El Rosario. In 1658 Carreño was hired as an assistant on a royal commission to paint frescoes in the Alcezar palace, now the Royal Palace of Madrid. In 1671, upon the death of Sebastian de Herrera, he was appointed court painter to the queen (pintor de cemara) and began to paint primarily portraits. He refused to be knighted in the order of Santiago, saying Painting needs no honors, it can give them to the whole world. He is mainly recalled as a painter of portraits. His main pupils were Mateo Cerezo, Cabezalero, Donoso, Ledesma y Sotomayor. He died in Madrid. Noble by descent, he had an understanding of the workings and psychology of the royal court as no painter before him making, his portraits of the Spanish royal family in an unprecedented documentary fashion
Basilius Besler
1561-1629,was a respected Nuremberg apothecary and botanist, best known for his monumental Hortus Eystettensis. He was curator of the garden of Johann Konrad von Gemmingen, prince bishop of Eichstätt in Bavaria. The bishop was an enthusiastic botanist who derived great pleasure from his garden, which was the only important European botanical garden outside Italy. The gardens surrounded the bishop's palace, Willibaldsburg, which was built on a hill overlooking the town. These gardens had been started in 1596 and designed by Besler's colleague, Joachim Camerarius, the Younger (1534-1598), a physician and botanist. Upon Camerarius' death in 1598, Besler had the remainder of Camerarius' plants moved to Eichstätt and carried on the work of planting and supervision. The bishop commissioned Besler to compile a codex of the plants growing in his garden, a task which Besler took sixteen years to complete, the bishop dying shortly before the work was published. Besler had the assistance of his brother and a group of skilled German draughtsmen and engravers, including Sebastian Schedel, an accomplished painter, and Wolfgang Kilian, a skilled engraver from Augsburg. Kilian and his team engraved the initial copper plates, but after the bishop??s death, the operations moved to N??rnberg and a new team of engravers, among whom were Johannes Leypold, Georg Gärtner, Levin and Friedrich van Hulsen, Peter Isselburg, Heinrich Ulrich, Dominicus Custos and Servatius Raeven. Camerarius' nephew, Ludwig Jungermann (1572-1653), was a botanist and wrote the lion's share of the descriptive text. The work was named Hortus Eystettensis (Garden at Eichstätt). The emphasis in botanicals of previous centuries had been on medicinal and culinary herbs, and these had usually been depicted in a crude manner. The images were often inadequate for identification, and had little claim to being aesthetic. The Hortus Eystettensis changed botanical art overnight. The plates were of garden flowers, herbs and vegetables, exotic plants such as castor-oil and arum lilies.