Christ carrying the Cross (follower) Hieronymus Bosch (1450-1516)
Hieronymus Bosch – Christ carrying the Cross (follower)
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Painter: Hieronymus Bosch
Location: Museum of Fine Arts, Ghent (Museum voor Schone Kunsten).
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Bosch is one of the masters of the Northern Renaissance, whose style specialists still have difficulty determining. They say that he was a madman or a sectarian. That with his paintings he described the black magic he practiced or witnessed. Or that he was a surrealist, splashing images onto canvas directly from the subconscious - his name often pops up along with Salvador Dali’s. In any case, Bosch’s paintings are painted in the "alla prima" technique, which involves applying paint to the canvas in one layer rather than several, without long waiting, and are full of monsters, unobvious interpretations and deep meanings.
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Description of Hieronymus Bosch’s The Carrying of the Cross
Bosch is one of the masters of the Northern Renaissance, whose style specialists still have difficulty determining. They say that he was a madman or a sectarian. That with his paintings he described the black magic he practiced or witnessed. Or that he was a surrealist, splashing images onto canvas directly from the subconscious - his name often pops up along with Salvador Dali’s.
In any case, Bosch’s paintings are painted in the "alla prima" technique, which involves applying paint to the canvas in one layer rather than several, without long waiting, and are full of monsters, unobvious interpretations and deep meanings. For some people, they are a delight. To some, disgust.
"Carrying the Cross" is one of his paintings on religious themes. It has only one plan, approximated as much as possible. It creates the impression of a static cinematic frame from a creepy animated film about the ascent of Christ to Calvary. Only the faces are distinguishable in the picture, and those faces are uncommonly unpleasant.
The hypertrophied noses, the open mouths, the lack of teeth, the rage, the disgust, the condescension, the mockery-they cause repulsion and a desire to turn away as soon as possible. There is among them the repentant thief who wants to die, whose face seems already dead, gray, and the two other thieves, shouting furiously, hating the whole world. There are Pharisees and priests, and in all the disgusting bacchanalia only Christ with the cross on his shoulders and St. Veronica with the cloth seem normal.
Their faces are bright, their features full of serenity and peace, their eyes closed, shielding them from the abominable action going on around them.
The very moment - the ascent, the carrying of the cross - is a celebration of stupidity, meanness, hatred, envy, pride, self-love and covetousness, which Bosch’s painting understands just fine.
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CARRYING THE CROSS
Blood drips into the sand, and the whole world
Is drawn into the orbit of those sacred drops.
The crowd turns gray, mouths are gaping holes.
A human, intricate pattern.
Legionaries gather around,
Blood transforms into capsules in the dust.
The entire world is cleansed with blood – fields and meadows,
And cities, and every drop of water.
The layers of celestial spheres are easy,
But our earthly vaults are heavy.
Blood is life, its sacred milk,
The blood of a new world, freedom.
Стихи хорошие, но полноразмерный файл у меня не открывается. Есть ли он на сервере и как открыть?
urnik нужно включить куки и добавить в исключения блокировщика рекламы.
Cookies are enabled, the page is not blocked. Other files (smaller in size) download without problems, but this one (9 MB) just wont download.
Perhaps someone kind would be willing to upload this file to a file-sharing service and provide a link? I really want to take a close look at this masterpiece!
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The subtext of this artwork lies in the stark contrast between the suffering and serenity of Christ and the varied, often negative, reactions of the crowd. The figures surrounding Christ are rendered with grotesque and exaggerated features, suggesting a commentary on human wickedness, indifference, and the mob mentality. Their distorted faces and aggressive postures symbolize the forces of evil and the unfeeling nature of humanity that contributed to Christs crucifixion. The painting powerfully captures the spiritual and emotional weight of the event, highlighting themes of sacrifice, suffering, and the complex tapestry of human behavior in the face of divine drama.