Hieronymus Bosch. Virginia Pitts Rembert

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      It was not merely subject matter dictation that Fränger believed Bosch had received, but that the “mentor” had even designed the colour and formal composition. He had obviously designed the colour because it bears symbolic relationship in every instance to the idea involved, but he strongly influenced the composition by allowing Bosch to break with his previous practice of placing dominant ideas along the axes of the panels, as in the two “Paradise-panels”, and to disorganise the hell scene in a manner planned as a symbolic reverse of the very order of the other two “worlds”.

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      Примечания

      1

      Fränger stated: “No other work of Bosch’s has been so consistently misunderstood as a result of this prejudiced approach as has the triptych, “The Millennium” [this is the title given the work by Fränger, who believed that the central panel represented the idealised estate of the millennial existence].

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Примечания

1

Fränger stated: “No other work of Bosch’s has been so consistently misunderstood as a result of this prejudiced approach as has the triptych, “The Millennium” [this is the title given the work by Fränger, who believed that the central panel represented the idealised estate of the millennial existence].

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