Hieronymus Bosch, Painter and Draughtsman Technical Studies Luuk Hoogstede, Ron Spronk, Matthijs Ilsink, Jos Koldeweij, Robert G. Erdmann, Rik Klein Gotink, Hanneke Nap, Daan Veldhuizen

Format:
Hardback
Publication date:
15 Mar 2016
ISBN:
9780300220155
Imprint:
Mercatorfonds
Dimensions:
464 pages: 324 x 241mm
Illustrations:
450 color + 245 b-w illus.

Categories:

Scholars have traditionally focused on the subjects and meanings of Hieronymus Bosch's works, whereas issues of painting technique, workshop participation, and condition of extant pictures have received considerably less attention. Since 2010, the Bosch Research and Conservation Project has been studying these works using modern methods. The team has documented Bosch's extant paintings with infrared reflectography and ultra high-resolution digital macro photography, both in infrared and visible light. Together with microscopic study of the paintings, this has enabled the team to write extensive and critical research reports describing the techniques and condition of the works, published in this extraordinary volume for the first time.

Luuk Hoogstede is a paintings conservator at SRAL, Maastricht. Ron Spronk is professor in art history at Queen’s University, Kingston, Ontario, Canada, and Radboud University, Nijmegen, the Netherlands. Matthijs Ilsink is the project coordinator of the Bosch Research and Conservation Project and teaches art history at Radboud University, Nijmegen, the Netherlands. Jos Koldeweij is professor in art history of the Middle Ages at Radboud University, Nijmegen, the Netherlands.

“[Gives] readers the opportunity to fully immerse themselves in the way Bosch’s paintings were created.”—Art & Antiques

“Dense [and] beautifully illustrated”—Ingrid D. Rowland, New York Review of Books

“Exciting . . . a thrilling opportunity to climb inside each Bosch painting, to see the draftsman’s hand at work as he creates his underdrawings, to witness how he changes his mind and erases or adds imagery, then builds up his canvas layer by layer.”—Nina Siegal, New York Times Book Review