Bosch's most famous work was painted to commemorate the wedding of the daughter of Count Henry II of Nassau, Brussels. The triptych was intended to illustrate the "benefits and hazards" of marriage by means of a biblical parable: Adam and Eve in the Garden of Eden on the left, a hedonistic "paradise" occupies the center panel, while a blazing Hell awaits the sinners and the unrepentant on the right. On the outer case, Bosch portrays the origin of the world, specifically the third day of creation when the earthly paradise was formed, in grisaille (gray tones). The image features a small figure of God holding an open book in the upper left corner, with the inscription in Latin, "For he spoke, and it came to be; he commanded and it stood firm".
In the Garden of Eden a youthful God is presiding over the marriage of Adam and Eve. Their heavenly surroundings are populated by animals, mythical creatures, trees, water, and a fantastical structure which floats on the lake. Art historian Wilhelm Fraenger points out that God is touching Eve and that Adam's feet touch God's cloak, creating an indivisible link between the three, through which "a current of divine power flows down, so that this group of three actually forms a closed circuit, a complex of magical energy". Seen from this perspective, the scene is a visualization of the divine union between man and God. In the center panel, Bosch illustrates the development of the Garden of Eden and the advancement of humanity through festivities and pleasurable activities. Again, they are surrounded by fantastical Boschian creatures, plants, structures, and organic pods.
The nudity of the figures indicates that the scene takes place prior to the expulsion of man from paradise. However, the figures' apparent focus on instant self-gratification and giving into temptation (reinforced by the repeated symbol of the strawberry) can be seen to anticipate the final judgement and the descent into the bowels of Hell. Bosch gives us a dark and chaotic landscape, devoid of flora and fauna. The many musical instruments in the scene likely refer to various forms of sin, such as the bagpipes representing lust and pleasures of the flesh. In the center of the scene stands his iconic "tree man" (possibly a self-portrait), a mere observer of the world, much like the artist himself.
The Garden of Earthly Delights has invited a seemingly inexhaustible range of interpretations; from seventeenth Spanish historian José de Siguenza who described the painting as "a satirical comment on the shame and sinfulness of mankind", to the twenty-first century when art historian Pilar Silva described the painting as a meditation on the "transient nature of earthly vanity". But the piece was finely summarized by art historian Claire Selvin who wrote: "Bosch's penchant for humor and absurdity shines through his masterpiece. Nude figures twist their spindly bodies around one another and perform acrobatic poses, birds and animals look on or join in the erotic revelry, and some participants congregate in snug shells and enclosures of various shapes and colors. Levity can even be found in the macabre scenes of destruction on the triptych's right side, where a pair of giant ears wields a massive knife and monumental musical instruments are used as torture devices. More than 500 years after its creation, The Garden of Earthly Delights, which puts Bosch's boundless imagination on full view, remains a source of intense fascination and entertainment for art historians and art lovers alike".
Oil on oak panels - Museo del Prado, Madrid
8 сен 2024
