Hieronymus Bosch的详细资料 《干车草》的作者是谁
博 斯Hieronymus Bosch
(1450-1516年)
希罗尼穆斯·博斯，出生在艺术世家，祖父和父亲都是地方有名的画家，博斯本人也声名显赫，他生前和死后都受到
当地统治者的重视。
博斯早期的艺术，具有稚拙和含蓄的个性；中期的创作，充分发挥了艺术的表现力和丰富的想象力：他特别善于运用
幻想以此区别于重形象真实性的画家，他巧妙而滑稽地将写实与浪漫的表现方式结合起来，创造了既富于幻想又有真实感的
形象，用幻想的形象来赞颂生活美好的人和事，揭露、讽刺生活中丑恶的现象，成了他独特的艺术语言。他所创造的艺术形
象继承了尼德兰民间艺术中幽默和风趣的成份，同时还吸收了意大利、德国艺术中的精华。
博斯晚期的作品无论是构图和造型，还是色彩和笔触都具有新的创见和高深的造诣。博斯在美术史上历来被认为是个不
可思议的画家，他那充满着奇思怪想的画面像迷一样难解，其实他所创造的艺术形象并非凭空臆造，而是为了表现自己强烈
的反封建思想。他从传统的哥特式雕塑中、中世纪动物故事插图、色彩抄本和中世纪的宝石古钱币中吸收有意思的形象，同
时还借用占星术来间接表达自己的思想。他的艺术创造和影响是超越时空的，他被誉为“现代绘画的始祖。”
1、《干草车》是英国著名画家约翰·康斯太勃尔田园风景画的代表作。该油画描绘了英国萨福克郡阿尔河畔一个小村庄的优美风景。
2、《干草车》是荷兰著名画家希罗尼穆斯·波希创作的油画作品。该油画为三联画，含双翼外侧的油画，共由四幅油画组成。该油画借用宗教的谚语和故事描绘了人类世界之百态。
约翰·康斯太勃尔画的《干草车》
1、画家简介：
约翰·康斯太勃尔 （John Constable），1776年的6月11日生于英国萨福克郡斯陶尔河畔的一个风景优美的村庄，1837年3月31日，因心脏病猝发而与世长辞。
康斯太勃尔与透纳（Joseph Mallord William Turner）并称为最伟大、最具影响力的英国风景画家。不同于透纳的幻想主义风格，康斯太勃尔是忠实的写实主义画家。他的风景画技法自然，追求真实的视觉感受，许多风景画都是对家乡真实风景的忠实描绘。
康斯太勃尔的艺术，虽然花了相当长的一段时间才臻至成熟，却极具独创性，为19世纪“后印象派”画家们开拓了各种可能性的实验之路。他的作品受到了许多画家的热烈好评，他的创作成了法国后来风景画家们学习的楷模。他独特的绘画技巧也深刻地影响了一代又一代画家。
2、作品简介
《干草车》（The Hay Wain）是英国著名风景画家约翰·康斯太勃尔在1821年创作的油画作品。
《干草车》为帆布油画，油画尺寸为： 130.2 x 185.4 cm。
该油画作品收藏于英国国家美术馆（The National Gallery）第34展馆。
3、作品赏析
这幅《干草车》描绘的是康斯太勃尔诞生的村庄特福德（Flatford，又名：弗拉富德），该村庄位于英国萨福克郡（Suffolk）的斯陶尔河河畔（River Stour）。 画面大部分为天空所占据，表现的是平淡的乡间场景。其中一只循声而望的狗引领着视线：一辆干草车正在过河，河水平静温和，静静地伴随着正在河边淘洗的农妇以及其身后颇具特色的乡间小屋。沉着的色调给画面平添了几分静谧与安逸。在这并不开阔的视线里，远处萨福克起伏平缓的地平线被明媚的阳光笼罩，生动和活力由此而生。
画面上绚丽多变的色彩、真实的描绘和浓郁的抒情笔调都令人陶醉。这一切是如此自然、清新、真实，充满爱与美感，没有一点矫揉造作。
该画长约1.85米，这种规格的画作一般以大型题材作为绘画主题，比如历史题材。而康斯太勃尔毫不吝惜地将风景绘制其上，非但不显呆板和单调，其层次分明的主题以及严谨的构图还将自然与人的和谐表现得恰到好处。其间闪烁的好似“珠光”的笔触使得画面富有生气而灵动。
画中康斯太勃尔将磨坊画得那么朴实、简洁，给整幅令人陶醉的景色加上锦上添花的一笔。这幅画上的景色，被称为典型英国式的农村风景。
在西欧的电影里尤其是英国的电影中常常见到这类似曾相识的镜头。凭构图色彩的配置，空气感等，康斯太勃尔树立了一种完美的标准。以后的法国现实主义风景大师如卢梭、柯洛等，都是康斯太勃尔最忠实的追随者。
希罗尼穆斯·波希画的《干草车》
上图是内侧全图
1、画家简介
希罗尼穆斯·波希（Hieronymus Bosch，其真名为Jeroen van Aken，另名Jeroen Bosch；约1450年~1516年8月9日， 出生在尼德兰塞尔托亨的波希市）是一位十五至十六世纪的多产荷兰画家。他多数的画作多在描绘罪恶与人类道德的沉沦。波希以恶魔、半人半兽甚至是机械的形象来表现人的邪恶。他的图画复杂，有高度的原创性、想像力，并大量使用各式的象征与符号，其中有些甚至在他的时代中也非常晦涩难解。波希被认为是20世纪的超现实主义的启发者之一。
2、作品简介
《干草车》（Triptych of Haywain 或The Haywain Triptych）是荷兰著名画家希罗尼穆斯·波希约在1500~1502年间创作的油画作品。
《干草车》为平板三联油画，油画尺寸为： 135 x 190 cm。
该油画作品收藏于马德里普拉多博物馆（Museo del Prado, Madrid）。
3、作品赏析
《干草车》是一幅谜一般的画，要解释画中的怪诞的人和各种生物，简直是不可能的。没有人能够破译出画中每一个细节的含义，但是整幅画却是可以意会的。
《干草车》的主题来自一句古老的尼德兰谚语：“世界是一辆载满干草的四轮车，人人从中取草，能捞多少就捞多少。 ” 在画面上可以看到：天使在和魔鬼接吻，弹曼陀铃的浪子正坐在修女的膝头调情，怪物在奏乐，圣女在祈祷，那干草车被几个奇怪的动物拖着，他们正在向右前进，而右面则是地狱。（这幅画本是幅三翼祭坛画，左是地上的乐园，右是地狱，喻示人类从乐园走向地狱。）车后跟着教皇、国王、百姓，他们兴高采烈，有的跑到了前头，有的在车轮间奔窜，有的已被碾死。这里人兽混杂，或互相倾轧，或正在斗殴，总之忙忙碌碌，荒诞古怪，而在蔚蓝的天空里，却出现了一个瘦小的基督，他站在黄色的祥云里俯视着一切。显然，画家正是以基督的眼在观照这个光怪陆离的世界，它充满着善与恶、真与伪、美与丑。对于这个世界，波希对它以其独特的艺术语言进行了讽刺。由此可见，波希在画中所表现出的幻想，实际上来自对现实的深刻的观察，他只是给它以浪漫主义的表现，从而成为独树一帜的奇葩。
该油画和波希的另一幅作品“人间乐园”（The Garden of Earthly Delights）一样由三联画组成，加上外侧翼（Outer Winds）的那副名为“徒步旅行者”（Wayfarer）作品，共可分为四幅油画。
Hieronymus Bosch
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For the literary character created by Michael Connelly, see Harry Bosch.
For the New Zealand band, see Hieronymus Bosch (band).
Hieronymus Bosch
Hieronymus Bosch; alleged self-portrait (around 1516)[1]
Birth name Jheronimus van Aken
Born 2 October, 1453
Died 9 August, 1516
's-Hertogenbosch, The Netherlands
Field Painting, drawing
Movement Renaissance
Works The Garden of Earthly Delights
The Temptation of St. Anthony
The Ship of Fools
Influenced Pieter Brueghel the Elder
Surrealism
Joan Miró
Hieronymus Bosch (English pronunciation: /ˌhaɪəˈrɒnəməs bɒʃ/, Dutch: [ɦieːˈɾoːniməs ˈbɔs]; born Jeroen Anthoniszoon van Aken [jəˈrun ɑnˈtoːnɪsoːn vɑn ˈaːkə(n)]; c.2 October 1453 – August 9, 1516) was an Early Netherlandish painter of the fifteenth and sixteenth centuries. The artist's work is well-known for the use of fantastic imagery to illustrate moral and religious concepts and narratives.[2]
Contents [hide]
1 Life
2 Art
3 Interpretation
4 Debates on attribution
5 Works
6 Notes
7 References
8 External links
[edit] Life
Hieronymus Bosch was born Hieronymus (or Jeroen) van Aken (meaning "from Aachen"). He signed a number of his paintings as Bosch (pronounced Boss in Dutch). The name derives from his birthplace, 's-Hertogenbosch, which is commonly called "Den Bosch".
Little is known of Bosch’s life or training. He left behind no letters or diaries, and what has been identified has been taken from brief references to him in the municipal records of 's-Hertogenbosch, and in the account books of the local order of the Brotherhood of Our Lady. Nothing is known of his personality or his thoughts on the meaning of his art. Bosch’s date of birth has not been determined with certainty. It is estimated at c. 1450 on the basis of a hand drawn portrait (which may be a self-portrait) made shortly before his death in 1516. The drawing shows the artist at an advanced age, probably in his late sixties.[1]
Detail from The Temptation of St. AnthonyBosch was born and lived all his life in and near ‘s-Hertogenbosch, the capital of the Dutch province of Brabant. His grandfather, Jan van Aken (died 1454), was a painter and is first mentioned in the records in 1430. It is known that Jan had five sons, four of whom were also painters. Bosch’s father, Anthonius van Aken (died c. 1478) acted as artistic adviser to the Brotherhood of Our Lady.[3] It is generally assumed that either Bosch’s father or one of his uncles taught the artist to paint, however none of their works survive.[4] Bosch first appears in the municipal record in 1474, when he is named along with two brothers and a sister.
's-Hertogenbosch was a flourishing city in fifteenth century Brabant, in the south of the present-day Netherlands. In 1463, 4,000 houses in the town were destroyed by a catastrophic fire, which the then (approximately) 13-year-old Bosch may have witnessed. He became a popular painter in his lifetime and often received commissions from abroad. In 1488 he joined the highly respected Brotherhood of Our Lady, an arch-conservative religious group of some 40 influential citizens of 's-Hertogenbosch, and 7,000 'outer-members' from around Europe.
Some time between 1479 and 1481, Bosch married Aleyt Goyaerts van den Meerveen, who was a few years older than the artist. The couple moved to the nearby town of Oirschot, where his wife had inherited a house and land, from her wealthy family.[5]
An entry in the accounts of the Brotherhood of Our Lady records Bosch’s death in 1516. A funeral mass served in his memory was held in the church of Saint John on 9 August of that year.[6]
[edit] Art
The Garden of Earthly Delights is Bosch's most widely known triptychBosch 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.
[edit] Interpretation
In earlier centuries it was often believed that Bosch’s art was inspired by medieval heresies and obscure hermetic practices. Others thought that his work was created merely to titillate and amuse, much like the "grotteschi" of the Italian Renaissance. While the art of the older masters was based in the physical world of everyday experience, Bosch confronts his viewer with, in the words of the art historian Walter Gibson, "a world of dreams [and] nightmares in which forms seem to flicker and change before our eyes." In the first known account of Bosch’s paintings, in 1560 the Spaniard Felipe de Guevara wrote that Bosch was regarded merely as "the inventor of monsters and chimeras". In the early seventeenth century, the Dutch art historian Karel van Mander described Bosch’s work as comprising "wondrous and strange fantasies"; however, he concluded that the paintings are "often less pleasant than gruesome to look at."[7]
In the twentieth century, scholars have come to view Bosch’s vision as less fantastic, and accepted that his art reflects the orthodox religious belief systems of his age. His depictions of sinful humanity, his conceptions of Heaven and Hell are now seen as consistent with those of late medieval didactic literature and sermons. Most writers attach a more profound significance to his paintings than had previously been supposed, and attempt to interpret it in terms of a late medieval morality. It is generally accepted that Bosch’s art was created to teach specific moral and spiritual truths in the manner of other Northern Renaissance figures, such as the poet Robert Henryson, and that the images rendered have precise and premeditated significance. According to Dirk Bax, Bosch’s paintings often represent visual translations of verbal metaphors and puns drawn from both biblical and folkloric sources.[8]
However, some writers see Bosch as a proto-type medieval surrealist, and parallels are often made with the twentieth century Spanish artist Salvador Dali. Other writers attempt to interpret his imagery using the language of Freudian psychology. However such theses are commonly rejected; according to Gibson, "what we choose to call the libido was denounced by the medieval church as original sin; what we see as the expression of the subconscious mind was for the Middle Ages the promptings of God or the Devil."[9]
The artist Susan Dorothea White has produced contemporary interpretations of Bosch's compositions - The Crowning with Sexism combines iconographic images of Marilyn Monroe and Joe DiMaggio, and The Seven Deadly Sins of Modern Times and The Seven Deadly Isms, both on circular tables, depict contemporary sins and obsessions.
[edit] Debates on attribution
The exact number of Bosch's surviving works has been a subject of considerable debate. He signed only seven of his paintings, and there is uncertainty whether all the paintings once ascribed to him were actually from his hand. It is known that from the early sixteenth century onwards numerous copies and variations of his paintings began to circulate. In addition, his style was highly influential, and was widely imitated by his numerous followers.[10]
Over the years, scholars have attributed to him fewer and fewer of the works once thought to be his, and today only 25 are definitively ascribed to him.
[edit] Works
Main article: Works of Hieronymus Bosch
[edit] Notes
^ a b Gibson, 15-16
^ Catherine B. Scallen, The Art of the Northern Renaissance (Chantilly: The Teaching Company, 2007) Lecture 26
^ Gibson, 15, 17
^ Gibson, 19
^ Valery, Paul. "The Phase of Doubt, A Critical Reflection".
^ Gibson, 18
^ Gibson, 9
^ Bax, 1949.
^ Gibson, 12
^ Gibson, 163
[edit] References
Bax, Dirk. (1949), “Ontcijfering van Jeroen Bosch”. Den Haag.
Gibson, Walter S (1973). “Hieronymus Bosch”. New York: Thames and Hudson. ISBN 0-5002-O134-X
Koldeweij, Jos & Bernard Vermet & Barbera van Kooij: Hieronymus Bosch. New Insights Into His Life and Work, NAi Publishers, Rotterdam 2001. ISBN 9-0566-2214-5
中文：
希罗尼穆斯·波希
传为希罗尼穆斯·波希的自画像（大约于1560年）
本名 Jeroen van Aken
出生 1450
逝世 1516
国籍 荷兰
希罗尼穆斯·波希（Hieronymus Bosch，其真名为Jeroen van Aken，另名Jeroen Bosch；西元1450年－西元1516年八月）是一位十五至十六世纪的多产荷兰画家。他多数的画作多在描绘罪恶与人类道德的沉沦。波希以恶魔、半人半兽甚至是机械的形象来表现人的邪恶。他的图画复杂，有高度的原创性、想像力，并大量使用各式的象征与符号，其中有些甚至在他的时代中也非常晦涩难解。波希被认为是20世纪的超现实主义的启发者之一。
他的真名是Jheronimus（或Jeroen）van Aken，意思是“亚琛来的人”。他在一部份画作上署名Bosch（荷兰文，音近英文Boss），取自他的出生地斯海尔托亨博斯。在西班牙文中他则多被称为El Bosco。
波希出生于绘画世家，他的双亲分别是荷兰与德国人。他大部分的人生都在斯海尔托亨博斯渡过，这是十五世纪当时布拉班特（今荷兰南部）一个热闹的城市。1463年时，约13岁的他可能曾目睹在当地发生的严重火灾。不久之后他成为知名的画家，甚至曾接到海外的委托。1488年他加入了“Our Lady”兄弟会，一个极端保守的信仰组织，由40位斯海尔托亨博斯当地有权势的市民，以及欧洲各地7000多名的会员组成。
目录 [隐藏]
1 风格
2 作品列表
2.1 已完成的三连画（Triptych）
2.2 未完成的三连画
2.3 油彩画
2.4 素描
3 琐事
4 大众文化
5 参考资料
6 外部链接
[编辑] 风格
《地狱》，乐园的右幅。波希制作了多幅三连画（triptych）——绘在三片接合起来的木质屏风上的画作，其中最有名的是《乐园》（The Garden of Earthly Delights，亦作《尘世乐园》[1]）。这件三连画的左幅，描绘了乐园中的亚当与夏娃与众多奇妙的生物；中幅以大量裸身的人体、巨大的水果和鸟类描写人间的乐园；右幅则是地狱的情境，充斥着大量造型奇幻的狱卒，以怪异的酷刑逞罚各式罪人。三件画作合起时，观赏者可见上帝创造地球的灰色装饰画。
这些画作有一层较粗糙的颜料表层，与传统法兰德斯（Flemish）风格，以平滑的表面修饰人为的不自然的手法大异其趣。
到了晚年时，波希的风格已有所转变，改以描绘大型、接近观赏者的人物为表现方式。代表作是带刺冠的基督（Christ Crowned with Thorns）。
波希从未在画作上注明日期，也仅在部分作品上签名（某些签名则被认为并非本人）；总括来说，目前确认出自波希之手的画作，仅有25幅。西班牙国王腓力二世在他死后收藏了他的大部分作品，因此目前西班牙马德里的普拉多美术馆（Prado Museum）有最丰富的波希作品收藏，包括“乐园”。
稍晚期的法兰德斯画家布勒哲尔受波希影响，其作品风格与波希相当近似，如1562年之死亡的胜利（The Triumph of Death）。
[编辑] 作品列表
波希的各式画作可能有不同的译名。在此采用英文名称；连结将连入英文维基百科。
[编辑] 已完成的三连画（Triptych）
Haywain (1500–1515)
The Garden of Earthly Delights （乐园，1466年）
The Temptation of St. Anthony（圣安东尼的诱惑）
The Last Judgement （最后的审判，1482年）
The Epiphany (The Adoration of the Magi) （东方三贤者的朝拜，1510年）
The Crucifixion of St Julia
[编辑] 未完成的三连画
Christ Carrying the Cross （Madrid 版本）
Christ Carrying the Cross （1515-1516）
The Last Judgement （1506-08）
记注为1494年后；曾为三连画但现今其他部分已佚失：
The Ship of Fools
Allegory of Gluttony and Lust
Death of the Miser
[编辑] 油彩画
Adoration of the Child
Christ Carrying the Cross (1480s)
Christ Crowned with Thorns (1495-1500)
Christ Crowned with Thorns (El Escorial 版本)
Crucifixion With a Donor (1483后)
Death of the Reprobate
Ecce Homo (1476后)
Ecce Homo (1490s)
St. Jerome at Prayer (c. 1505)
St. Christopher Carrying the Christ Child (1490–1500)
St. John the Baptist in the Wilderness (1495后)
St. John the Evangelist on Patmos (1490后)
The Conjurer (1500s)
The Extraction of the Stone of Madness (The Cure of Folly) (1500后)
The Marriage Feast at Cana (1500)
The Seven Deadly Sins and the Four Last Things (1500–1510)
The Wayfarer
收藏于威尼斯公爵府的四张系列木板画；1490之后
Ascent of the Blessed
Terrestrial Paradise
Fall of the Damned
Hell
[编辑] 素描
Animal Studies
Beehive and Witches
Beggars
Beggars and Cripples
Christ Carrying The Cross
Death of the Miser
Group of Male Figures
Mary and John at the Foot of the Cross
Nest of Owls
Portrait of Hieronymus Bosch
Scenes in Hell
Studies
Studies of Monsters
Temptation of St Anthony
The Entombment
The Hearing Forest and the Seeing Field
The Ship of Fools
The Ship of Fools in Flames
Tree-Man
Two Caricatured Heads
Two Monsters
Two Witches
Witches
[编辑] 琐事
波希在2004年选出的“最伟大的荷兰人（De Grootste Nederlander）”中列居第63位。[2]
[编辑] 大众文化
在作家麦可‧康纳利的小说中，主角之名Hieronymus Harry Bosch即是以波希为灵感。此外，在康纳利2001年的作品“A Darkness More Than Night”情节中，波希的画作有重要的份量。
童书绘本“Pish, Posh, Said Hieronymus Bosch”中，波希画作中的各种生物，在一位画家与他的女友家里变成活生生的生命。
博 斯Hieronymus Bosch
(1450-1516年)
希罗尼穆斯·博斯，出生在艺术世家，祖父和父亲都是地方有名的画家，博斯本人也声名显赫，他生前和死后都受到
当地统治者的重视。
博斯早期的艺术，具有稚拙和含蓄的个性；中期的创作，充分发挥了艺术的表现力和丰富的想象力：他特别善于运用
幻想以此区别于重形象真实性的画家，他巧妙而滑稽地将写实与浪漫的表现方式结合起来，创造了既富于幻想又有真实感的
形象，用幻想的形象来赞颂生活美好的人和事，揭露、讽刺生活中丑恶的现象，成了他独特的艺术语言。他所创造的艺术形
象继承了尼德兰民间艺术中幽默和风趣的成份，同时还吸收了意大利、德国艺术中的精华。
博斯晚期的作品无论是构图和造型，还是色彩和笔触都具有新的创见和高深的造诣。博斯在美术史上历来被认为是个不
可思议的画家，他那充满着奇思怪想的画面像迷一样难解，其实他所创造的艺术形象并非凭空臆造，而是为了表现自己强烈
的反封建思想。他从传统的哥特式雕塑中、中世纪动物故事插图、色彩抄本和中世纪的宝石古钱币中吸收有意思的形象，同
时还借用占星术来间接表达自己的思想。他的艺术创造和影响是超越时空的，他被誉为“现代绘画的始祖。”
