Formal Analysis of Hieronymus Bosch’s “The Seven Deadly Sins and The Four Last Things”.
In this early work, Bosch depicts both the sins and the consequences of them as well as God’s ever watching eye.
Currently housed in Museo Nacional Del Prado, Madrid The Seven Deadly Sins and The Four Last Things or sometimes referred to as simply “The Table of sins” is considered by many to be an example of Bosch’s early work, however, it is still debated. Presented on a wood panel at 3’2’’ by 4’11’’ and painted in oil.
The painting is meant to be seen from above as it is laid flat on a table, the viewer having to walk around to get a clear view of each scene. Bosch shows a focus on middle-ground, fore-ground and background a common practice in much of …show more content…
Seven wedge-like shapes can be seen surrounding a portrait of Christ, who is displaying his wounds to the viewer, a ring of light encompasses around Christ and radiates out. Within the corners of the canvas are perfectly circular images depicting the “four last things”, Heaven, Hell, the Last Judgement and finally death. When viewed in its entirety the composition is revealed to be the eye of God; giving the viewer the impression that God is ever-watching. The wedge-like shapes demonstrate within them each sin; some which can be easily identified, the iconography being obvious and tame, another indication that this could potentially be an early work of Bosch, as it is a strong contrast to what has become synonymous with Bosch’s work who is widely credited with being the first surrealist with his depictions of bizarre creatures and strange …show more content…
Like Gluttony, Vanity’s (below Christ, lower right) imagery is easily dissected, a woman stands in front of a mirror being held by a demon figure who is disguised in a sort of bonnet. Beside the woman a chest can be seen where jewelry is spilling out, it is apparent that she is entirely unaware of the demonic creature holding the mirror, perhaps not being able to see beyond its pretty clothing and her own reflection. Directly below Christ, the depiction of Wrath presented as a quarrel between two men, seemingly started by jealous. This scene takes place outdoors, Bosch created a sprawling landscape behind the figures as they brawl, articles of clothing are thrown about and a table is flipped adding an intensity to the scene. Both men have drawn swords on each other, one man wears a table upon his head, his face contorted in disgust. Beside Wrath, Envy is characterized by several of the figures present. The dogs all-together ignore the bones at their feet, a working man looks back to strike an angry glance at the richness of
In this early work, Bosch depicts both the sins and the consequences of them as well as God’s ever watching eye.
Currently housed in Museo Nacional Del Prado, Madrid The Seven Deadly Sins and The Four Last Things or sometimes referred to as simply “The Table of sins” is considered by many to be an example of Bosch’s early work, however, it is still debated. Presented on a wood panel at 3’2’’ by 4’11’’ and painted in oil.
The painting is meant to be seen from above as it is laid flat on a table, the viewer having to walk around to get a clear view of each scene. Bosch shows a focus on middle-ground, fore-ground and background a common practice in much of …show more content…
Seven wedge-like shapes can be seen surrounding a portrait of Christ, who is displaying his wounds to the viewer, a ring of light encompasses around Christ and radiates out. Within the corners of the canvas are perfectly circular images depicting the “four last things”, Heaven, Hell, the Last Judgement and finally death. When viewed in its entirety the composition is revealed to be the eye of God; giving the viewer the impression that God is ever-watching. The wedge-like shapes demonstrate within them each sin; some which can be easily identified, the iconography being obvious and tame, another indication that this could potentially be an early work of Bosch, as it is a strong contrast to what has become synonymous with Bosch’s work who is widely credited with being the first surrealist with his depictions of bizarre creatures and strange …show more content…
Like Gluttony, Vanity’s (below Christ, lower right) imagery is easily dissected, a woman stands in front of a mirror being held by a demon figure who is disguised in a sort of bonnet. Beside the woman a chest can be seen where jewelry is spilling out, it is apparent that she is entirely unaware of the demonic creature holding the mirror, perhaps not being able to see beyond its pretty clothing and her own reflection. Directly below Christ, the depiction of Wrath presented as a quarrel between two men, seemingly started by jealous. This scene takes place outdoors, Bosch created a sprawling landscape behind the figures as they brawl, articles of clothing are thrown about and a table is flipped adding an intensity to the scene. Both men have drawn swords on each other, one man wears a table upon his head, his face contorted in disgust. Beside Wrath, Envy is characterized by several of the figures present. The dogs all-together ignore the bones at their feet, a working man looks back to strike an angry glance at the richness of