Jaarboek KMSKA 2017-2018
The structure of this publication
is different from previous years. This time we are not
presenting diverse scientific articles by researchers, but one single
topic linking up with the previous publications by Dr Paul
Vandenbroeck entitled A suspect paradise. Studies on the left panel
and detail symbolism of Hieronymus Bosch’s so-called Garden of Earthly
Delights.
This contribution is divided into two parts: “The Garden of Eden,
the ‘Work of Nature’ and marriage” and “Meaningful motifs on
the centre panel”. The first part focusses on the paradise wedding,
with the exotic and sinister and the animals and monstra in
the Garden of Eden, the symbolism of the paradise fountain and
the representation of the owl is unravelled. In the second part
attention is paid to the crescent of the moon, the sphere, plants,
animals, acrobats and flying people and the layered structure in
the representation. Vandenbroeck poses the question whether here
on the centre panel a paradise or a sinful situation is depicted. He
provides arguments for the at least partially negative significance
value of the symbolism, which renders it impossible to depict a
fully positive reality such as Paradise. His study results find their
way into this highly enthralling read.
Dr Paul Vandenbroeck has been fascinated by the oeuvre and symbolism of Hieronymus Bosch. Research around this painter and his art has remained a constant factor in Vandenbroeck’s career. Since 1980 he has been working at the KMSKA as scientific staff member and curator, and for a long time as editor of the Annual. Moreover, from 2003 he has been part-time senior lecturer at the Social Sciences Faculty of KU Leuven and in his academic career too the study of Bosch occupies a prominent place.
Jaarboek KMSKA 2017-2018
The structure of this publication
is different from previous years. This time we are not
presenting diverse scientific articles by researchers, but one single
topic linking up with the previous publications by Dr Paul
Vandenbroeck entitled A suspect paradise. Studies on the left panel
and detail symbolism of Hieronymus Bosch’s so-called Garden of Earthly
Delights.
This contribution is divided into two parts: “The Garden of Eden,
the ‘Work of Nature’ and marriage” and “Meaningful motifs on
the centre panel”. The first part focusses on the paradise wedding,
with the exotic and sinister and the animals and monstra in
the Garden of Eden, the symbolism of the paradise fountain and
the representation of the owl is unravelled. In the second part
attention is paid to the crescent of the moon, the sphere, plants,
animals, acrobats and flying people and the layered structure in
the representation. Vandenbroeck poses the question whether here
on the centre panel a paradise or a sinful situation is depicted. He
provides arguments for the at least partially negative significance
value of the symbolism, which renders it impossible to depict a
fully positive reality such as Paradise. His study results find their
way into this highly enthralling read.
Dr Paul Vandenbroeck has been fascinated by the oeuvre and symbolism of Hieronymus Bosch. Research around this painter and his art has remained a constant factor in Vandenbroeck’s career. Since 1980 he has been working at the KMSKA as scientific staff member and curator, and for a long time as editor of the Annual. Moreover, from 2003 he has been part-time senior lecturer at the Social Sciences Faculty of KU Leuven and in his academic career too the study of Bosch occupies a prominent place.
Jaarboek KMSKA 2015-2016
Het jaarboek van het Koninklijk Museum voor Schone Kunsten Antwerpen is één van de langstlopende en belangrijkste kunsthistorische tijdschriften. In deze uitgave krijgen wetenschappelijke bijdragen van de onderzoekers van het museum en auteurs uit binnen- en buitenland hun plaats. Diverse thema’s en kunstenaars, zoals de Antwerpse kunstenaarsfamilie Coignet en Jan Van Beers, komen in deze rijk geïllustreerde uitgave aan bod.
Paul Vandenbroeck voerde de eindredactie. Hij is medewerker collectieonderzoek bij het KMSKA en doceert aan de Faculteit Sociale Wetenschappen van de KU Leuven.
Jaarboek KMSKA 2015-2016
Het jaarboek van het Koninklijk Museum voor Schone Kunsten Antwerpen is één van de langstlopende en belangrijkste kunsthistorische tijdschriften. In deze uitgave krijgen wetenschappelijke bijdragen van de onderzoekers van het museum en auteurs uit binnen- en buitenland hun plaats. Diverse thema’s en kunstenaars, zoals de Antwerpse kunstenaarsfamilie Coignet en Jan Van Beers, komen in deze rijk geïllustreerde uitgave aan bod.
Paul Vandenbroeck voerde de eindredactie. Hij is medewerker collectieonderzoek bij het KMSKA en doceert aan de Faculteit Sociale Wetenschappen van de KU Leuven.
Jaarboek KMSKA 2013-2014
At various points over the course of the 20th century, the Belgian State and its various ministries and provinces consciously chose to subsidise not only the fine arts but also the applied and decorative arts, and in particular the art of weaving tapestry. On the one hand, orders were placed for World Exhibitions and for Belgian embassies, and on the other competitions were held for tapestries to be hung in important locations such as the United Nations and NATO headquarters, and the exhibitions that were organized by the various ministries over the years. They provided an overview of the ways in which this branch of the arts was changing as well as representative work by the best tapestry designers. The exhibitions organized by the provincial authorities give quite a different image. There were the highly conventional exhibitions of Brabantine tapestries to promote the craftsmanship of the province and there were the more innovative textile exhibitions.
Taken as a whole, the commissions, competitions and exhibitions give a good overview of what was happening in Belgium in the field of tapestry over the period 1945-1980. They also make it clear what image was being projected abroad: that of a country with rich traditions, master craftsmanship in weaving, and in the 1970s some affiliation to the latest developments in European textile art.
Jaarboek KMSKA 2013-2014
At various points over the course of the 20th century, the Belgian State and its various ministries and provinces consciously chose to subsidise not only the fine arts but also the applied and decorative arts, and in particular the art of weaving tapestry. On the one hand, orders were placed for World Exhibitions and for Belgian embassies, and on the other competitions were held for tapestries to be hung in important locations such as the United Nations and NATO headquarters, and the exhibitions that were organized by the various ministries over the years. They provided an overview of the ways in which this branch of the arts was changing as well as representative work by the best tapestry designers. The exhibitions organized by the provincial authorities give quite a different image. There were the highly conventional exhibitions of Brabantine tapestries to promote the craftsmanship of the province and there were the more innovative textile exhibitions.
Taken as a whole, the commissions, competitions and exhibitions give a good overview of what was happening in Belgium in the field of tapestry over the period 1945-1980. They also make it clear what image was being projected abroad: that of a country with rich traditions, master craftsmanship in weaving, and in the 1970s some affiliation to the latest developments in European textile art.