Compiled by members of the Bosch Research and Conservation Project and published on the 500th anniversary of Hieronymus Bosch's death, this is the definitivenew catalogue of all of Bosch's extant paintings and drawings. His mastery and genius have been redefined as a result of six years of research on the iconography, techniques, pedigree, and conservation history of his paintings and on his life. This stunning volume includes all new photography, as well as up-to-date research on the individual works. For the first time, the incredible creativity of this late medieval artist, expressed in countless details, is reproduced and discussed in this book. Special attention is being paid to Bosch as an image maker, a skilled draughtsman, and a brutal painter, changing the game of painting around 1500 by his innovative way of working."

Scholars have traditionally focused on the subjects and meanings of Hieronymus Bosch's works, whereas issues of painting technique, workshop participation, and condition of extant pictures have received considerably less attention. Since 2010, the Bosch Research and Conservation Project has been studying these works using modern methods. The team has documented Bosch's extant paintings with infrared reflectography and ultra high-resolution digital macro photography, both in infrared and visible light. Together with microscopic study of the paintings, this has enabled the team to write extensive and critical research reports describing the techniques and condition of the works, published in this extraordinary volume for the first time. Distributed for Mercatorfonds

An accessible survey on a genius artist, published to accompany the 500th anniversary of Bosch's death Hieronymus Bosch (c. 1450-1516) lived and worked in 's-Hertogenbosch, the Netherlands, where he created enigmatic paintings and drawings full of bizarre creatures, phantasmagoric monsters, and terrifying nightmares. He also depicted detailed landscapes and found inspiration in fundamental moral concepts: seduction, sin, and judgment. This beautiful book accompanies a major exhibition on Bosch's work in his native city, and will feature important new research on his 25 known paintings and 20 drawings. The book, divided into six sections, covers the entirety of the artist's career. It discusses in detail Bosch's Pilgrimage of Life, Bosch and the Life of Christ, his role as a draughtsman, his depictions of saints, and his visualization of Judgment Day and the hereafter, among other topics, and is handsomely illustrated by new photography undertaken by the Bosch Research and Conservation Project Team.

Bosch lived and worked over 500 hundred years ago in the Netherlands’ town of ’s Hertogenbosch, from which he takes his name. He is best known for his fantastical, wondrous art full of strange creatures both grotesque and heavenly. The work he has left behind still defies the imagination. Taking account of the latest research, Hieronymus Bosch: Masterpieces of Art gives an overview of what is known of this elusive painter and draughtsman, and reproduces his (and some of his followers’) impressive work, from traditional Biblical stories with a Boschian twist, such as the Adoration of the Magi, to his apocalyptic Four Visions of the Hereafter. His diptychs and triptychs, such as the famously complex Garden of Earthly Delights are covered as well as his stunning line drawings, such as The Wood Has Ears, The Field Has Eyes.

Hieronymus Bosch created fantastical painterly schemes populated by monsters and morals, earthly experience and premonitions of the afterlife. On the 500th anniversary of his death, this large-scale monograph explores his genius imagination with full-page reproductions, copious details, a fold-out spread from The Last Judgement, and expert...

The great French artist Claude Lorrain (1600-1682)--for whom drawing was an integral part of the artistic process--spent most of his career in Italy, where he documented the beauty of the landscape and the splendor of classical ruins. This richly illustrated book examines the wide-ranging role the medium played throughout Claude's career. The book presents some of Claude’s most remarkable drawings, representing all aspects of his style and subject matter--from informal outdoor sketches of trees, rivers, and ruins to formal presentation drawings and elaborate compositional designs for paintings, many of which have never before been reproduced in color. A detailed and scholarly essay places them within the social and cultural contexts of their time and includes comparative illustrations of paintings and etchings to situate them within the artist's oeuvre. A selection of works from the Liber Veritatis (Book of Truth), a portfolio of highly finished drawings that the artist created to document his own painted compositions, is also included.

Hieronymus Bosch's Garden of Earthly Delights takes a special place in European art history, partly because of the special late-medieval imagery. The meaning of the painting, however, differs according to every expert. After extensive research, Reindert

New perspectives on Belgian Surrealism and the photographic practices of Marcel Mariën Marcel Mariën (1920–1993) was a key figure of Belgian post-war Surrealism. He is widely acknowledged for his landmark work on Belgian Surrealism and his collaboration with future Situationists like Guy-Ernest Debord in his journalLes Lèvres nues. Nevertheless, Mariën’s texts, collages, photographs, film, and objects have to date remained understudied. This is the first volume devoted to Mariën's photographic work. Through a series of close readings, Mieke Bleyen connects the collage and photographic practices of Mariën with his wider oeuvre, particularly with his archival and editorial activities. By applying Gilles Deleuze and Félix Guattari's concept of the ‘minor’, this book proposes an alternative reading of Mariën’s anti-aesthetics and focuses on the affective range of his work. The figure of Mariën also serves as a case study that offers new perspectives on Belgian Surrealism's relation to mainstream Surrealism and the role of photography within Surrealism. This volume, moreover, raises a critique on ‘major’ art history's conception of time as linear progression and argues instead for twisted and extended temporalities in the case of Marcel Mariën. With previously unpublished images from Mariën's private archive.

A significant new interpretation of the emergence of Western pictorial realism When Jan van Eyck (c. 1390–1441) completed the revolutionary Ghent Altarpiece in 1432, it was unprecedented in European visual culture. His novel visual strategies, including lifelike detail, not only helped make painting the defining medium of Western art, they also ushered in new ways of seeing the world. This highly original book explores Van Eyck’s pivotal work, as well as panels by Rogier van der Weyden and their followers, to understand how viewers came to appreciate a world depicted in two dimensions. Through careful examination of primary documents, Noa Turel reveals that paintings were consistently described as au vif: made not “from life” but “into life.” Animation, not representation, drove Van Eyck and his contemporaries. Turel’s interpretation reverses the commonly held belief that these artists were inspired by the era’s burgeoning empiricism, proposing instead that their “living pictures” helped create the conditions for empiricism. Illustrated with exquisite fifteenth-century paintings, this volume asserts these works’ key role in shaping, rather than simply mirroring, the early modern world.

In Anonymous Art at Auction, Anne-Sophie V. Radermecker takes the opposing view of the superstar economy by examining contemporary sales of Early Flemish paintings with unknown authorship and the effects of various substitutes for real names on price formation.