Utopia's doom
type: CreativeWork
about: DefinedTerm
  alternate name: Utopias in art
about: DefinedTerm
  alternate name: Lust in art
about: DefinedTerm
  alternate name: Lust in art
about: DefinedTerm
  alternate name: Hell in art
about: DefinedTerm
  alternate name: Utopias in art
about: DefinedTerm
  alternate name: Hell in art
about: https://id.rijksmuseum.nl/31013509
about: https://id.rijksmuseum.nl/320131838
about: https://id.rijksmuseum.nl/320132679
about: https://id.rijksmuseum.nl/320132749
abstract: The so-called 'Garden of delights' by Jheronimus Bosch (c. 1450-1516) remains an absolutely iconic work in European art history. The highly complex and enigmatic image has frequently been interpreted as a paradisiacal utopia, in which people indulge playfully in erotic pleasure in harmony with nature. It is a visual utopia framed before Thomas More had actually coined the word in a book whose entirely unfrivolous blueprint for society could hardly differ more from Bosch's phantasm. More traditional art historians have identified Bosch's masterpiece as a painted warning against the sins of the body, more specifically that of 'lust', citing the image of Hell in the right wing in support. Vandenbroeck argues that these two interpretations need not preclude one another: Bosch painted a phantasmagorical false paradise that leads inexorably to ruin. He drew his inspiration from folk ideas about a semi-earthly, semi-supernatural erotic paradise or grail, in which those who entered could live in a dream-world of unbridled pleasure. But only until Judgement Day, upon which they would all wind up in Hell.
contributor: https://id.rijksmuseum.nl/3105071
creator: https://id.rijksmuseum.nl/310116686
language: eng
is part of: Art & religion ;
position: 8
work example: https://id.rijksmuseum.nl/301283166

PropertyValue
property ID: NL-AmRIJ
value: 283166