User:ShrimpFriedLice/Christ Carrying the Cross (Bosch, Ghent)
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[edit]History
[edit]It is proposed by the Bosch Research and Conservation Project (BRCP), that the piece is in fact a replica of a previous piece of Bosch. The piece is dated 1530-1540, which is much time after Bosch’s death. Other evidence that the BRCP proposes is that when studying the painting with Infrared reflectography, the underdrawing of the piece does not show many differences to the final piece, which is usually expected. When studying the morphological details of the paintings, the BRCP insists that they are dealing with a different artist. It was also determined that the painting was directly placed into a frame after painting due to the fact that there was no paint pooling at the edges of the piece. It was standard procedure within the 15th century that pieces were framed before painting, which would show evidence of this build up of paint on the edges of the panel.
However, this theory is refuted by Griet Stayaert. His evidence is that there is no way to determine definitively the framing technique of the piece. During the restoration of the piece in 1956-1957, wooden slats were added to frame the piece, so it could not be determined that the piece had unpainted edges to begin with. He also aims to consider that the style of the painting itself is affected by the restoration process. Stayaert compares the attributes of the painting to other paintings by Bosch and marks its similarity to The Last Judgment by Bosch and Christ Mocked (The Crowning of Thorns) by Bosch as well.[1]
Description
[edit]Depicted in the aforementioned piece, is Jesus Christ (as the name of the painting suggests), Simon of Cyrene, Saint Veronica, the Good Thief (also referred to as the Good Murderer), and the Bad Thief (also referred to as the Bad Murderer). On the veil of Saint Veronica, there is an image of Christ as well. Christ is positioned in the intersection of two diagonals within the piece, the first diagonal being the wooden cross that Jesus is holding, the second being the line that connects Saint Veronica in the bottom left corner and the Bad Thief in the upper right corner. Surrounding Christ are faces in varying states of agony, including the faces of Simon of Cyrene, Saint Veronica, the Good Thief, and the Bad Thief. The faces are painted upon a black background.[2]
Stylistic Choices
[edit]Religious Symbolism
[edit]The faces of agony depicted in the piece are meant to represent a mob and this mob is imbued with the concept of sin. Jesus’s face, along with his likeness in Saint Veronica’s veil, is meant to show a stark contrast between his expression and the expression of the mob. Saint Veronica’s facial expression as well is meant to further emphasize this difference. The intention of the artist was to depict the inner reality of humanity and Jesus’s solitude in his journey. This is meant to show that Christ is the only person that can forgive humanity for their sins and bring the beauty of humanity to the surface.[3] The expression of the mob itself is a reference to the masks used in Passion Plays and it also reminiscent of the caricatures of Leonardo da Vinci.
Footnotes
[edit]References
[edit] | This article includes a list of general references, but it lacks sufficient corresponding inline citations. (October 2015) |
| Christ Carrying the Cross | |
|---|---|
 | |
| Artist | a follower of Hieronymus Bosch |
| Year | c. 1510–1535 |
| Medium | Oil on panel |
| Dimensions | 74 cm × 81 cm (29 in × 32 in) |
| Location | Museum of Fine Arts, Ghent |
Christ Carrying the Cross is a painting attributed to a follower of Hieronymus Bosch. It was painted in the early 16th century, presumably between 1510 and 1535. The work is housed in the Museum of Fine Arts in Ghent, Belgium. The painting is notable for its use of caricature to provide grotesque-looking faces surrounding Jesus.[4]
History
[edit]The work was bought by the Museum of Fine Arts, Ghent in 1902, and was restored in 1956–1957. As for all Bosch related works, the dating is uncertain, although most art historians assigned it to his late career.[5] The catalogue of the Bosch exhibition held in Rotterdam in 2001 assigned it to 1510–1535, attributing the execution to a follower. According to one of the authors, Bernard Vermet, that it is not a typical work of Bosch it is generally accepted and he finds it hard to believe that it was painted by the same painter as the Christ Crowned with Thorns in the National Gallery in London. Moreover, the colours remind him of the Mannerists of the 1530s and he relates the work to the Triptych of the Passion in Valencia and the Christ Before Pilate in Princeton, works that were definitely painted after the death of Bosch.[6] Since then the rejection has been accepted by Stephan Fischer[7] and disputed by Fritz Koreny.[8] In October 2015 the Bosch Research and Conservation Project, that is doing technical research on most of Bosch's paintings since 2007, confirmed they reject the attribution to Bosch as well and consider it to be made by a follower.[9]
Description
[edit]
The work depicts Jesus carrying the cross above a dark background, surrounded by numerous heads, most of which are characterized with grotesque features. There are a total of eighteen portraits, plus one on Veronica's veil. Jesus has a woeful expression, His eyes are closed and the head is reclinating.
In the bottom right corner is the impenitent thief, who sneers against three men who are mocking him. The penitent thief is at top right: he is portrayed with very pale skin, while being confessed by a horribly ugly monk.
The bottom left corner shows Veronica with the Veil of Veronica, with her eyes half-open and the face looking back. Finally, at the top left is Simon of Cyrene, his face upturned.
Related works
[edit]There are two further versions of the subject by Bosch: a previous one from around 1498, now at the Royal Palace of Madrid, and another in the Kunsthistorisches Museum of Vienna from around 1500.
References
[edit]- ^ Flemish Primatives (10/7/24). "Christ Carrying the Cross by Bosch in the Museum of Fine Arts in Ghent". Flemish Art Collection Website. Retrieved 10/7/24.
{{cite web}}: Check date values in:|access-date=and|date=(help)CS1 maint: url-status (link) - ^ "Christ Carrying the Cross". Flemish Art Collection Website. 10/7/24. Retrieved 10/7/24.
{{cite web}}:|first=missing|last=(help); Check date values in:|access-date=and|date=(help)CS1 maint: url-status (link) - ^ Lane, Mark Richard (1/27/14). "Three Roads to Calvary - Bosch". WordPress. Retrieved 10/7/24.
{{cite web}}: Check date values in:|access-date=and|date=(help)CS1 maint: url-status (link) - ^ "Hieronymus Bosch".
- ^ Varallo, Franca (2004). Bosch. Milan: Skira.
- ^ Koldeweij, Vandenbroeck en Vermet (2001): p. 97.
- ^ S. Fischer. Hieronymus Bosch. Complete Works. Köln (Taschen Verlag) 2013.
- ^ F. Koreny. Hieronymus Bosch. Die Zeichnungen. Turnhout (Brepols) 2012.
- ^ Twee beroemde werken toch niet van Jeroen Bosch, NOS, 31 oktober 2015
Sources
[edit]- Varallo, Franca (2004). Bosch. Milan: Skira.
- Anonymous. Royal Institute for Cultural Heritage Photolibrary, object number 78628, as Hieronymus Bosch, Christus draagt het kruis, circa 1510-1535, 76.7 cm × 83.5 cm (30.2 in × 32.9 in). Retrieved December 10, 2012.[permanent dead link]
- Anonymous. Bildarchiv Foto Marburg, Bildindex der Kunst und Architektur, Object 20390576, as Hieronymus Bosch, Kreuztragung, 74 cm × 81 cm (29 in × 32 in). Retrieved December 10, 2012.
- Friedländer, Max J. (1969). Early Netherlandisch Painting. Volume V. Geertgen tot Sint Jans and Jerome Bosch. Leiden: A.W. Slijthof. p. 82.
- Koldeweij, A.M.; Vandenbroeck, P.; Vermet, B. (2001), Jheronimus Bosch. Alle schilderijen en tekeningen, Rotterdam: NAi Uitgevers, p. 79, ISBN 90-5662-219-6
External links
[edit]
Media related to Christ Carrying the Cross by Hieronymus Bosch (Ghent) at Wikimedia Commons- The Tricks of Leonardo da Vinci & Hieronymus Bosch. Xavier d'Hérouville & Aurore Caulier. December 2023. HAL Open Science
