Man in a basket, old woman with tongs and children
Jheronimus Bosch
Bosch Project
Man in a basket, old woman with tongs and children
techniek: Pen and Ink on Paper, 19.2 x 27 cm
Bosch was a masterful image maker and was familiar with the efficacy of having a viewer in the depiction. Such a figure ensures that we become even more involved in the scene. We look with them and so, quite naturally, become part of the action. He used this trick in the drawing of a person in a hive with a flock of birds emerging from the buttocks. It is absurdist theater, especially because someone has climbed onto the hive and is about to smash a lute on the trapped person’s backside. The rear of this drawing repeats the motif of the birds, buttocks, and hive, but in a much more sketchlike fashion. A comparable motif occurs on the Hermit Saints Triptych (Cat. 2). |  |
boschproject.org
Literatuur en bronnenpublicaties
Matthijs Ilsink, Jos Koldeweij, Ron Spronk, Luuk Hoogstede, Robert G. Erdmann, Rik Klein Gotink, Hanneke Nap and Daan Veldhuizen, Hieronymus Bosch, Painter and Draughtsman. Catalogue Raisonné, Brussels 2016, pp. 538-541.
Stephanie Buck, Die niederländischen Zeichnungen des 15. Jahrhunderts im Berliner Kupferstichkabinett. Kritischer Katalog, Turnhout 2001, pp. 219, 221.
Frédéric Elsig, Jheronimus Bosch. La question de la chronologie (Travaux d’Humanisme et de Renaissance), Geneva 2004, pp. 17, 50, 226.
Matthijs Ilsink, ‘Van Eyck, Van der Weyden, Van der Goes, Van Aken. Twee studies over vroege Nederlandse tekenkunst en een geveilde tekening’, Millennium, tijdschrift voor middeleeuwse studies 17 (2003), p. 56.
Stefan Fischer, Hieronymus Bosch: Complete Works, Cologne 2013, p. 280.
Fritz Koreny, ‘Hieronymus Bosch - Überlegungen zu Stil und Chronologie’, Jahrbuch des Kunsthistorischen Museums Wien 4/5 (2002-2003), p. 73.
Fritz Koreny, Hieronymus Bosch: die Zeichnungen: Werkstatt und Nachfolge bis zum Ende des 16. Jahrhunderts: catalogue raisonne´, Turnhout 2012, pp. 230-235.
Pilar Silva Maroto (ed.), Bosch. The 5th Centenary Exhibition, Madrid 2016, pp. 366-368 (Eva Michel).
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