The paintings of Hieronymus Bosch (1450–1516) have captivated and confounded observers for centuries, leading to wildly varying conclusions on the artist’s spirituality. Kurt Falk presents the first analysis of Bosch’s inner life in light of a hitherto unknown—and now lost—version of one of his seminal works, The Last Judgment, found by the author in Cairo in the mid-1930s. With an introduction by spiritual psychologist Robert Sardello, The Unknown Hieronymus Bosch presents an entirely new way of looking at this art—not through the framework of art history or the notion of a school of painting, but through the spirit. Falk’s analysis reveals the ways in which Bosch addresses creation, including the exalted and fallen spiritual worlds so prevalent in his work. The author’s conclusions are startling but persuasive: that Bosch had strong links to Rosicrucianism, that many of the paintings feature a curious onlooker figure we now understand as a spirit-witness, and that Bosch had in fact developed the capacity to clairvoyantly know the extraordinary worlds he portrays in such exacting detail. The book’s high-quality reproductions, carefully rendered in the paintings’ true colors, offer powerful visual support for the author’s theories.

The triptych is reproduced here for the first time complete & in life-size detail.

An accessible biography of the celebrated early Netherlandish painter, now in paperback. In his lifetime the early Netherlandish painter Hieronymus Bosch was famous for his phantasmagoric images, and today his name is synonymous with the infernal. The creator of expansive tableaus of fantastic and hellish scenes—where any devil not dancing is too busy eating human souls—he has been as equally misunderstood by history as his paintings have. In this book, Nils Büttner draws on a wealth of historical documents—not to mention Bosch’s paintings—to offer a fresh and insightful look at one of history’s most peculiar artists on the five-hundredth anniversary of his death. Bosch’s paintings have elicited a number of responses over the centuries. Some have tried to explain them as alchemical symbolism, others as coded messages of a secret cult, and still others have tried to psychoanalyze them. Some have placed Bosch among the Adamites, others among the Cathars, and others among the Brethren of the Free Spirit, seeing in his paintings an occult life of free love, strange rituals, mysterious drugs, and witchcraft. As Büttner shows, Bosch was—if anything—a hardworking painter, commissioned by aristocrats and courtesans, as all painters of his time were. Analyzing his life and paintings against the backdrop of contemporary Dutch culture and society, Büttner offers one of the clearest biographical sketches to date alongside beautiful reproductions of some of Bosch’s most important work. The result is a smart but accessible introduction to a unique artist whose work transcends genre.

A comprehensive look at the work of Jheronimus Bosch, published to coincide with the 5th centenary of the artist's death and in conjunction with an exhibition at the Museo del Prado

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.

I don't know how you got here but this page isn't for you. This is an extremely dangerous book with a very deadly secret. It is an alarming account of two extraordinary adventurers, a missing magician's diary, a symphony of smells and a deadly secret... If you're both curious and brave, visit www.thenameofthisbookissecret.co.uk - but remember - I warned you. "Many different types of readers will thoroughly enjoy this tale including fans of Anthony Horowitz and Lemony Snicket. The book is an interesting read where many types of emotions overwhelm you such as horror, grief, mystery, anxiety the lot. Mixed with a hint of sweet satisfaction that you have finally read the story. I honestly do not know how I lived without reading the book - it baffles me." - Guardian Children's Books Shortlisted Bedforshire Children's Book of the Year Award 2009, selected for the Premier League Reading Stars programme

In his great triptych "The Millennium," Bosch used oranges and other fruits to symbolize the delights of Paradise. In his great triptych “The Millennium,” Bosch used oranges and other fruits to symbolize the delights of Paradise. Whence Henry Miller’s title for this, one of his most appealing books; first published in 1957, it tells the story of Miller’s life on the Big Sur, a section of the California coast where he lived for fifteen years. Big Sur is the portrait of a place—one of the most colorful in the United States—and of the extraordinary people Miller knew there: writers (and writers who did not write), mystics seeking truth in meditation (and the not-so-saintly looking for sex-cults or celebrity), sophisticated children and adult innocents; geniuses, cranks and the unclassifiable, like Conrad Moricand, the “Devil in Paradise” who is one of Miller’s greatest character studies. Henry Miller writes with a buoyancy and brimming energy that are infectious. He has a fine touch for comedy. But this is also a serious book—the testament of a free spirit who has broken through the restraints and clichés of modern life to find within himself his own kind of paradise.

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

Take home one of the most cult artists in history with this handy edition, presenting all known works of Hieronymus Bosch. Through full spreads and carefully curated details, the book surveys the artist's compositional scope as well as his most compelling, if disturbing, inventions, from horse-skulled harp players to devils on ice skates.

Johannes Vermeer, one of the greatest Dutch painters and for some the single greatest painter of all, produced a remarkably small corpus of work. In Vermeer's Family Secrets, Benjamin Binstock revolutionizes how we think about Vermeer's work and life. Vermeer, The Sphinx of Delft, is famously a mystery in art: despite the common claim that little is known of his biography, there is actually an abundance of fascinating information about Vermeer’s life that Binstock brings to bear on Vermeer’s art for the first time; he also offers new interpretations of several key documents pertaining to Vermeer that have been misunderstood. Lavishly illustrated with more than 180 black and white images and more than sixty color plates, the book also includes a remarkable color two-page spread that presents the entirety of Vermeer's oeuvre arranged in chronological order in 1/20 scale, demonstrating his gradual formal and conceptual development. No book on Vermeer has ever done this kind of visual comparison of his complete output. Like Poe's purloined letter, Vermeer's secrets are sometimes out in the open where everyone can see them. Benjamin Binstock shows us where to look. Piecing together evidence, the tools of art history, and his own intuitive skills, he gives us for the first time a history of Vermeer's work in light of Vermeer's life. On almost every page of Vermeer's Family Secrets, there is a perception or an adjustment that rethinks what we know about Vermeer, his oeuvre, Dutch painting, and Western Art. Perhaps the most arresting revelation of Vermeer's Family Secrets is the final one: in response to inconsistencies in technique, materials, and artistic level, Binstock posits that several of the paintings accepted as canonical works by Vermeer, are in fact not by Vermeer at all but by his eldest daughter, Maria. How he argues this is one of the book's many pleasures.