As I blogged before, on 8 July 2016 we were in the natural history museum in Tilburg, the Netherlands, for the exhibition about animals in the paintings by Hieronymus Bosch.
Many animals in Bosch’ age were used as symbols, eg of sinful or good human qualities: eg, peacocks for vanity. The catalogue of the exhibition says that many of these late medieval-early Renaissance symbolic meanings have become lost and are unclear now. We don’t know whether Bosch interpreted animals as symbols 100% like some contemporaries did. There are doves in Bosch’ paintings. Symbols of peace? Or symbols of prostitution, which they also used to be sometimes? We cannot be sure.
There are four types of animals in Hieronymus Bosch’s paintings. First, autochthonous west European animals which Bosch knew well. Like little owls: in The Garden of Earthly Delights, in The Wayfarer, and in St. Jerome at Prayer.
Or like the great tit in The Wayfarer.
Or like the magpie in The Wayfarer. According to the exhibition organisation, the magpie used to be a symbol of a soul liberated from sin. Also to Bosch? We cannot be completely sure.
The second category in Bosch’s work are exotic animals new for west Europeans; like giraffes. In his The Garden of Earthly Delights, in its left panel, Bosch depicted a giraffe. He very probably never had seen a living giraffe. The animal looks much like a picture from a book by fifteenth-century Italian humanist Cyriacus of Ancona.
Cyriacus, according to a biography:
was not a religious man – not in the manner of most of his contemporaries.
Cyriacus’ ideas about science were at variance with Catholic Church doctrine. Much of his work got lost. That Bosch knew it and referred to it may be another sign of him being critical of religious (and secular) authority, besides other signs of that in his art.
Camels were then also considered exotic, like this one in the Garden of Earthly Delights.
In Bosch’s work there are also two kinds of fantasy animals. Animals which traditionally were supposed to exist, like unicorns and griffons. And animals which were products of Bosch’s own imagination; often half one animal species, half another animal species or object. Like the half spoonbill half ship in the Triptych of the Temptation of St. Anthony. In this blog post we will now discuss mainly the last two categories, especially in the Garden of Earthly Delights.
This detail of the painting shows, eg, a unicorn; a bird with three heads; a bird with an arrow-like tongue and a bird vaguely looking like a hummingbird.
The Tilburg exhibition also includes work by twenty-first century artists like Neige, inspired by Bosch’s fantasy animals.
Here are two other birds in which Bosch used his imagination. One standing; one drinking.
And many more birds here; some may be real, some imaginary.
In this detail are people riding not only on a ‘normal’ horse, but also on a wild boar, on a horse with a surrealist kind of deer antlers, and on a griffon.