From Library Journal
Although Hieronymus Bosch's triptych painting, The Garden of Earthly Delights, has fascinated viewers for centuries, commentators have been perplexed about its intended meaning. In this book, German art historian Belting (Thomas Struth) argues persuasively for an interpretation of the enigmatic central panel as a representation of the earthly paradise that would have existed if Adam and Eve's fall had never taken place. Belting's book is more philosophical and less comprehensive than Jos Koldeweij and others' recent Hieronymus Bosch: The Complete Paintings and Drawings, and Belting's discussion of the religious and cultural context of Bosch's art sometimes strays so far from the art itself that it is hard to see the connection. This book is valuable, however, for its novel view of a much-discussed painting. A large foldout reproduction of the triptych and many close-up views and reproductions of several related works add to the book's value. Recommended for scholarly and specialized collections.Kathryn Wekselman, Cincinnati, OH Copyright 2002 Reed Business Information, Inc.

The Wall Street Journal
" An excellent introduction to this artist and one of his masterpieces."

Book Description
Few paintings inspire the kind of intense study and speculation as The Garden of Earthly Delights, the luminous triptych by Dutch master Hieronymus Bosch. Now renowned art historian Hans Belting offers a radical new interpretation of this masterpiece — one that places Bosch’s vision squarely in the context of his times.

Language Notes
Text: English (translation)
Original Language: German

From the Publisher
Hieronymus Bosch’s elaborate paintings have always been hugely popular as well as controversial. His landscapes depicting humans, animals, and fabulous creatures in various states of ecstasy and misery were greatly imitated by his contemporaries and laid the foundations for the Surrealist movement of the 20th century. But of all Bosch’s works, The Garden of Earthly Delights, located in the Prado Museum in Madrid, has provoked the most debate. Commissioned by a wealthy Dutch noble, the painting has been interpreted as a heretical masterpiece, a condemnation of Catholicism, an opulent illustration of the Creation, and a premonition of the end of the world. Now Hans Belting offers his own reading of the work, which he sees not as apocalyptic, but utopian. Taking readers through each panel, Belting discusses various schools of thought, and explores Bosch’s life and times. He compares Bosch’s vision with the humanistic theories of Thomas More and Willibald Pirckheimer and suggests that the painter’s aim was not to evoke the end of the world, but to investigate how the world would exist had the Fall not happened. Enhanced by an exquisite fold-out reproduction of the original painting, this fascinating study is an important contribution to the literature and theory surrounding one of the world’s most enigmatic artists.

About the Author
Hans Belting is an internationally renowned art historian and an expert on Netherlandish art. The author of numerous important works on art theory and 20th century art, he lives in Karlsruhe, Germany.

FROM THE PUBLISHER

Hans Belting avoids interpreting Hieronymus Bosch's triptych, The Garden of Earthly Delights, as a heretical masterpiece, a personal examination of the church's dogmas, or as an opulent illustration of the Creation. Instead, he sees the panels as a painted Utopia, reflecting the zeitgeist of the period. He links the work to the humanist theories of Thomas More and Willibald Pirckheimer and examines the question that Bosch posed: "What would the world have been like without the Fall?" In addition, the author determines the secular patron and analyses the intended purpose of the painting.

SYNOPSIS

Few paintings inspire the kind of intense study and speculation as The Garden of Earthly Delights, the luminous triptych by Dutch master Hieronymus Bosch. Now renowned art historian Hans Belting offers a radical new interpretation of this masterpiece—one that places Bosch￯﾿ﾽs vision squarely in the context of his times.

Hieronymus Bosch￯﾿ﾽs elaborate paintings have always been hugely popular as well as controversial. His landscapes depicting humans, animals, and fabulous creatures in various states of ecstasy and misery were greatly imitated by his contemporaries and laid the foundations for the Surrealist movement of the 20th century. But of all Bosch￯﾿ﾽs works, The Garden of Earthly Delights, located in the Prado Museum in Madrid, has provoked the most debate. Commissioned by a wealthy Dutch noble, the painting has been interpreted as a heretical masterpiece, a condemnation of Catholicism, an opulent illustration of the Creation, and a premonition of the end of the world. Now Hans Belting offers his own reading of the work, which he sees not as apocalyptic, but utopian. Taking readers through each panel, Belting discusses various schools of thought, and explores Bosch￯﾿ﾽs life and times. He compares Bosch￯﾿ﾽs vision with the humanistic theories of Thomas More and Willibald Pirckheimer and suggests that the painter￯﾿ﾽs aim was not to evoke the end of the world, but to investigate how the world would exist had the Fall not happened. Enhanced by an exquisite fold-out reproduction of the original painting, this fascinating study is an important contribution to the literature and theory surrounding one of the world￯﾿ﾽs most enigmatic artists.

FROM THE CRITICS

Library Journal