![]() ![]() These are the works from the Museo Làzaro Galdiano in Madrid and the two works borrowed from the Uffizi Galleries. Due to their fragility and peculiar state of preservation, some works will have to be returned to their museum locations before the exhibition closes. Precisely because they are so rare and precious, this artist's masterpieces rarely leave the museums and even more rarely do we have the opportunity to see them together in a single exhibition. In fact, Bosch is the author of very few works universally attributed to him, which are preserved in museums all around the world. In this extremely rich corpus, the visitor will find some of Bosch's most celebrated masterpieces and works inspired by the Master's subjects, which had never before been displayed together in a single exhibition. The exhibition itinerary encompasses a hundred works of art including paintings, sculptures, tapestries, engravings, bronzes, and ancient volumes, including some 30 rare and preciousobjects from wunderkammerns. Open to the public until March 12th, 2023, the exhibition “ Bosch and Another Renaissance” is promoted by the Municipality of Milan - Culture, Palazzo Reale and Castello Sforzesco, organized by 24 ORE Cultura-Gruppo 24 ORE and curated by Bernard Aikema, previously a professor of Modern Art History at the University of Verona, Fernando Checa Cremades, professor of Art History at the Complutense University of Madrid and former director of the Prado Museum and Claudio Salsi, the director of Castello Sforzesco, the Archaeological and Historical Museums and professor of history of engraving at the Catholic University of Milan. Jheronimus Bosch (1453 - 1516) is known worldwide for his language, made of dreamlike visions and peculiar worlds, fires, monstrous creatures, and fantastic figures. From the (in part later strengthened) contours to the fine dashes and dots, everything would be transferred meticulously to the printing plate.For the first time, the city of Milan, under the artistic direction of Palazzo Reale and Castello Sforzesco, pays tribute to the great Flemish genius and to his success in southern Europe, with a brand new exhibition project revolving around a fascinating thesis: Bosch is the emblem of an “alternative” Renaissance, which is far from the Renaissance governed by the myth of classicism and is evidence of the existence of a plurality of Renaissances, with its art centres scattered throughout Europe. Remarkable aspects of this drawing include the richly nuanced effects on the various surfaces-for example, the reflections on the water and the shimmering skin of the large fish. The entire representation, even the sky, is inundated with depictions of fish and fantastic fish-like creatures. The father is reminded of a Dutch proverb, which, however, is quoted only on the engraving: “Look, son, I have long known that the big fish eat the small.” He gestures instructively at an enormous animal lying on the shore from whose mouth and slashed belly a large number of smaller fish and other marine animals ooze out, including some that, in turn, have fish in their mouths. In the foreground of the picture, a father and son sit in a rowboat and watch a small fish being pulled from the slashed belly of a larger fish. It is possible that Brueghel in fact based his drawing on an unknown model by his much-admired predecessor. ![]() Hieronymus Bosch, who was still very famous forty years after his death in 1516, is named as the inventor of the composition on the mirror-inverted print. One of his most famous drawings is the 1556 allegory Big Fish Eat Little Fish, which was engraved in copper by Pieter van der Heyden in 1558. With the exception of his two sons, Pieter the Younger and Jan the Elder, Pieter Brueghel the Elder did not have any students, and yet he greatly influenced generations of painters until well into the seventeenth century. Brueghel settled in Brussels in 1563, where he married Mayke, the daughter of Pieter Coecke van Aelst I. ![]() Most of his paintings, to which he owes the sobriquet “Peasant Brueghel,” were first painted after 1560. During the many years of their collaboration, Brueghel produced nearly forty models for copper engravings-landscapes, seascapes, religious scenes, and worldly allegories-that were widely distributed abroad as well. After becoming a member of the Antwerp painter’s guild (1551/52), he traveled to Italy, resuming his work for the publisher Hieronymus Cock when he returned to Antwerp in 1555. He probably trained under Pieter Coecke van Aelst. Little is known about Pieter Brueghel’s birth and early life. ![]()
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