Artist: Jheronimus Van Aken
날짜: 1600
크기: 62 x 80 cm
기술: Oil On Panel
St Antony is seen at half length in the left foreground, sunk in prayer. He is leaning on a rock with an apple and a wooden staff lying on it. On his cloak is the Tau cross of the Antonine monks.15 A river with a small boat steered by a woman separates the foreground from the actual scene of temptation on the right of the composition. There a nude woman stands inside a house, the upper part of which takes the form of the head of an old woman, who is a bawd, according to Bax.16 Perched on top of her head is a dovecote, which signified a brothel in the 16th century. In addition to the dovecote, the nude woman, who has sunk up to her knees in the ‘cesspit of vice’, and the swan on the flag also refer to this house of easy virtue. In the middle ages, and later, the swan often adorned the signboards of inns.17 On top of a pole sticking out of the house is an object that is difficult to identify (possibly a helmet, or a round hat) to which a flock of birds is heading.18 A monastery is going up in flames in the background to the left of St Antony, with bird-like devils flying around in the clouds of smoke. There is also a flying fish with a devil on its back and an owl, both heading towards the house. This particular owl can be interpreted as a symbol of temptation and seduction. There are three variants of this scene of The Temptation of St Antony. In addition to a slightly larger version in the Prado in Madrid,19 which is very similar to the one in the Rijksmuseum, there is another on canvas in the Escorial,20 in which the brothel is replaced by a crucifix. In the past, these three versions have generally been regarded as copies after a lost work by Bosch.21 Bax and Unverfehrt, however, had already pointed out that the structure of the composition of the three versions is hardly typical of Bosch, and they doubt whether they are based on an original by him.22 On the evidence of the dendrochronological dating of the Amsterdam panel it can be assumed that this painting in the manner of Bosch, which the false signature shows must have been marketed as an original, was not painted until the second half of the 16th century. J. Bogers, 2010 Literature updated by J.P. Filedt Kok, 2016
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