Temptation of Saint Anthony (workshop) Hieronymus Bosch (1450-1516)
Hieronymus Bosch – Temptation of Saint Anthony (workshop)
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Painter: Hieronymus Bosch
Location: Royal Museum of Fine Arts (Koninklijke Musea voor Schone Kunsten), Brussels.
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Bosch put his soul into his work The Temptation of St. Anthony. His famous triptych is one of the artist’s finest paintings. It was based on a medieval literature story about St. Anthony succumbing to terrible temptations in the Egyptian desert. The original painting is kept in the State Museum in Lisbon. In Portugal, the canvas appeared in 1523: it was acquired by Damiao de Gois, the famous Portuguese humanist.
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Description of Hieronymus Bosch’s The Temptation of St. Anthony
Bosch put his soul into his work The Temptation of St. Anthony. His famous triptych is one of the artist’s finest paintings. It was based on a medieval literature story about St. Anthony succumbing to terrible temptations in the Egyptian desert. The original painting is kept in the State Museum in Lisbon. In Portugal, the canvas appeared in 1523: it was acquired by Damiao de Gois, the famous Portuguese humanist. There are also several copies (about 20).
This masterpiece of European painting by Bosch has several components. For example, the central part of the triptych depicts the "Temptation of St. Anthony" itself, on the left shutter - "Flight and Fall ...", on the right - "Visions ...". The outer shutters depict episodes about the Passion of Christ.
The central part of the triptych is imbued with fantastic figures. For example, a white bird transformed into a real ship with wings that took to the sky. Most likely Bosch’s inventions came from graffiti on coins from the time of Alexander the Great.
In the center of the canvas is a rite of black mass, indicating the contradictory moods and embarrassment of the master of the brush himself. Here female priests rule the sacrilegious service. They are surrounded by a mixed crowd: following the cripple to the sinful communion is a mandolin-playing creature dressed in a black cloak, who has an owl and the snout of a boar on his head. In these circumstances, the owl symbolizes lying, although in other sources it is a symbol of the bright forces, the so-called eye of God, watching over the actions of participants in the alchemical process.
From the great fruit of the red monsters come out. Their leader, a demon, plays the harp. In the background is a sorcerer in a cylinder who controls the actions of a group of demons. At the bottom of the canvas, the artist has depicted a headless duck floating, with a small window on its neck, from which the demon looks out.
The main character in the left shutter is St. Anthony himself. He has fallen from heaven and the Antonites lift him up. At the top of the shutter, the saint has his hands folded in prayer, disregarding his tormentors.
On the right sash Antony is presented to the viewer as a knight of firm faith who has defeated evil forces.
The great painter Bosch believed that the alchemists were true heretics. The master of the brush took great pains to reveal to the viewer how wrong the alchemists’ interpretation of the Bible was with their heretical thoughts.
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This is a triptych painting, meaning it is composed of three panels that can be opened or closed. The painting depicts the Temptation of Saint Anthony, a popular subject in Christian art, illustrating the trials and tribulations faced by the desert ascetic.
Panel 1 (Left): The left panel shows a desolate and somewhat hellish landscape. In the foreground, demonic figures and grotesque creatures torment and tempt ordinary humans, who are depicted in various states of suffering and sin. There are scenes of debauchery, violence, and the mundane horrors of human existence, some of which are driven by supernatural forces. In the upper part of this panel, unusual flying objects and creatures suggest an otherworldly or hellish sky.
Panel 2 (Center): The central panel is dominated by a chaotic and infernal scene. A burning city is in the background, signifying destruction and damnation. In the foreground, Saint Anthony is depicted in the midst of extreme temptation and suffering. He is surrounded by a horde of demons, monstrous hybrid creatures, and fantastical beings engaged in various acts of torment. The saint, often shown in prayer or contemplation, is the calm center amidst the surrounding chaos. He is being attacked, lured, and tested by these unholy forces, which embody the sins and temptations of the world. A central architectural element, a crumbling building, serves as a focal point for this torment.
Panel 3 (Right): The right panel offers a more surreal and unsettling landscape. The temptation continues, but the imagery shifts. There are architectural ruins, strange formations, and more demonic figures. In the foreground right, a naked figure is being tormented under a table laden with food, a symbol of gluttony and worldly desires. Saint Anthony is again present, often depicted as a figure of spiritual resilience in the face of overwhelming evil. The right panel also features more tranquil scenes juxtaposed with the grotesque, possibly representing moments of spiritual victory or respite before further trials. The entire triptych is filled with a multitude of bizarre creatures, allegorical figures, and symbolic imagery characteristic of Hieronymus Boschs workshop.
Subtexts:
The painting is a profound exploration of the spiritual battle between good and evil, faith and temptation. The Temptation of Saint Anthony is a metaphor for the universal struggle against sin and worldly desires that every individual faces.
The specific symbolism within Boschs work is often debated, but the overarching theme is a vivid and potent depiction of the struggle for virtue in a world rife with vice and diabolical influence.