Hieronymus Bosch left behind himself no correspondence or diaries, and not anything is identified of his character or his feelings on the significance of his paintings. His birthday has not been determined with confidence. He not at all dated his works and may have signed only few of them. In the past it was habitually supposed that Bosch's paintings was inspired by medieval heresies. In the 20-th century, researchers have come to sight Bosch's vision as fewer unbelievable, and acknowledged that his art reflects the conventional religious faith systems of his time. His images of sinning people, his view of Heaven and Hell are now perceived as consistent with late medieval didactic literature. It is in the main acknowledged that Bosch's art was produced to educate exact moral and spiritual norms, and that his images provide precise worth. Nerveless, some critics notice Bosch as example of medieval surrealist, and parallels are repeatedly made with the modern Spanish artist Salvador Dali.

Hieronymus Bosch left behind himself no correspondence or diaries, and not anything is identified of his character or his feelings on the significance of his paintings. His birthday has not been determined with confidence. He not at all dated his works and may have signed only few of them. In the past it was habitually supposed that Bosch's paintings was inspired by medieval heresies. In the 20-th century, researchers have come to sight Bosch's vision as fewer unbelievable, and acknowledged that his art reflects the conventional religious faith systems of his time. His images of sinning people, his view of Heaven and Hell are now perceived as consistent with late medieval didactic literature. It is in the main acknowledged that Bosch's art was produced to educate exact moral and spiritual norms, and that his images provide precise worth. Nerveless, some critics notice Bosch as example of medieval surrealist, and parallels are repeatedly made with the modern Spanish artist Salvador Dali.

An imaginative poem about the fifteenth-century painter filled with medieval beasts and other images from Bosch's world.

The subject of drink received a great deal of attention from early modern Europeans. Preachers, physicians, authorities, artists and travellers all addressed it from a range of different perspectives. At the same time, inns, taverns and alehouses served as multifunctional centres in towns and villages throughout Europe. This combination resulted in a wealth of sources, both institutional and cultural, which are only now beginning to be explored. This anthology features new research on public houses in England, Russia and the German lands. In a series of general, thematic and regional studies, contributors engage with broader debates in early modern history, shedding light on such key issues as consumption, travel and communication, state building, confessional identity, fiscal practice, gender and household relations, and the use of public spaces. The result is a volume that should appeal to anybody with an interest in early modern cultural history.

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

Clement Greenberg is widely recognized as the most influential and articulate champion of modernism during its American ascendency after World War II, the period largely covered by these highly acclaimed volumes of The Collected Essays and Criticism. Volume 3: Affirmations and Refusals presents Greenberg's writings from the period between 1950 and 1956, while Volume 4: Modernism with a Vengeance gathers essays and criticism of the years 1957 to 1969. The 120 works range from little-known pieces originally appearing Vogue and Harper's Bazaar to such celebrated essays as "The Plight of Our Culture" (1953), "Modernist Painting" (1960), and "Post Painterly Abstraction" (1964). Preserved in their original form, these writings allow readers to witness the development and direction of Greenberg's criticism, from his advocacy of abstract expressionism to his enthusiasm for color-field painting. With the inclusion of critical exchanges between Greenberg and F. R. Leavis, Fairfield Porter, Thomas B. Hess, Herbert Read, Max Kozloff, and Robert Goldwater, these volumes are essential sources in the ongoing debate over modern art. For each volume, John O'Brian has furnished an introduction, a selected bibliography, and a brief summary of events that places the criticism in its artistic and historical context.

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.