Vandenbroeck 1982
“Problèmes concernant l’oeuvre de Jheronimus Bosch: Le dessin sous-jacent en relation avec l’authenticité et la chronologie” (Paul Vandenbroeck) 1982
[in: Roger Van Schoute and Dominique Hollanders-Favart (eds.), Le dessin sous-jacent dans la peinture – Colloque IV – 29-30-31 octobre 1981 – Le problème de l’auteur de l’oeuvre de peinture – Contribution de l’étude du dessin sous-jacent à la question des attributions. Université Catholique de Louvain – Institut Supérieur d’Archéologie et de’Histoire de l’Art – Document de travail n° 13, Collège Érasme – Place Blaise Pascal, Louvain-la-Neuve, 1982, pp. 107-120]
Judging by the pentimenti that can be seen in the Garden of Delights triptych, Bosch did not follow a well-defined programme when painting this work but he worked in a rather off-hand way. Vandenbroeck sees a striking similarity between the Garden of Delights, the Haywain (Prado) and the Last Judgment (Bruges). He considers these latter two triptychs Bosch originals and he calls the Bruges Last Judgment a key work for the iconography of Bosch.
Vandenbroeck rejects the arrangement of the Bosch oeuvre in three stylistic periods. As different sorts of underdrawing can often be seen within one painting, the chronology of the Bosch oeuvre cannot be based on its style. Vandenbroeck even thinks that the issue of evolution within the Bosch oeuvre cannot be solved.
[explicit]
