“Stichterportretten bij Jheronimus Bosch” (Arvi Wattel) 2001
[in: Desipientia – zin & waan – Kunsthistorisch tijdschrift, vol. 8, nr. 2 (September 2001), pp. 10-17]
Wattel analyses the (sometimes overpainted) donor portraits in Bosch’s Crucifixion (Brussels), Ecce Homo (Frankrfurt), Adoration of the Magi (Madrid), John the Baptist (Madrid), Crucified Martyr (Venice), and Last Judgement (Vienna). He also pays attention to the Ecce Homo triptych (Boston), a workshop painting, and to two works that have only been preserved through copies (Wedding at Cana and Jesus among the Pharisees). When painting donors, Bosch proves to be a conventional artist: he adapted to the wishes of his commissioner and to the religious needs of his times. The overpainting of donors occurred frequently and does not have to explained by Bosch’s personality (e.g. a quarrel with his commissioner).
[explicit 2nd May 2020]