The Magician (follower) Hieronymus Bosch (1450-1516)
Hieronymus Bosch – The Magician (follower)
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Painter: Hieronymus Bosch
Location: City Museum (Musée municipal), Saint-Germain-en-Laye.
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The painting "The Magician" by the Flemish painter Hieronymus Bosch, unfortunately, has not survived. Today we can admire only copies of the work. The most accurate is recognized as a work that is housed in the Saint-Germain-en-Laye Museum. The date of the original is also unknown, only presumably referring to Bosch’s early work. It corresponds to the unsteady figures and the disruption of perspective reduction, corresponding to the immaturity of the master. The painting is an example of the age-old satire that reminds us of how blind faith and stupidity ruin people.
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Description of Hieronymus Bosch’s painting The Magician
The painting "The Magician" by the Flemish painter Hieronymus Bosch, unfortunately, has not survived. Today we can admire only copies of the work. The most accurate is recognized as a work that is housed in the Saint-Germain-en-Laye Museum.
The date of the original is also unknown, only presumably referring to Bosch’s early work. It corresponds to the unsteady figures and the disruption of perspective reduction, corresponding to the immaturity of the master.
The painting is an example of the age-old satire that reminds us of how blind faith and stupidity ruin people. The plot of this scene has two interpretations. Some scholars call it a warning against swindlers and a rebuke to those fools who are willing to believe cunning and dexterous peddlers. A magician and curious onlookers are seated near the slick stone wall.
On the table you can see the tools of the charlatan, fooling the gullible public. It is not immediately possible to distinguish a frog at the left edge of the table, over which one of the spectators is leaning in amazement. The magician had just convinced him and the rest of the audience that it had magically jumped right out of the man’s mouth. In this way, having completely captured the crowd’s attention, the charlatan gives another trickster, or perhaps his own partner, the opportunity to empty the pockets of simpletons. The theatrical deception is expressed by the symbols of an owl, a prototype of the devil’s intrigues, and a dog dressed as a jester.
Others trace in the extraction of the frog an appeal to the church rite of exorcism. From this point of view, "The Trickster" is not just a humorous skit, but a mockery of the clergy, like a fake magician fooling the heads of the congregation.
The Trickster is often seen as a satire on tricksters and foolish rascals who are willing to put their faith in any rogue. In the extraction of the frog, art historians suggest a mockery of the church rite of exorcism.
The painting takes on an anti-religious protest and becomes a parody of clergymen who fool naive parishioners. This version is reinforced by the magician’s dress, which resembles a cardinal’s cassock, and the thief’s outfit, that of a Dominican monk.
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The picture has something of this: people, group, wear, woman, man, box, education, child, lid, veil, facial expression, two, room, outfit, three, school.
Perhaps it’s a painting of a group of people standing around a table with a man in a top hat and a woman in a red dress holding a jug.