‘s-Hertogenbosch, Netherlands (EFE) .- International researchers yesterday reiterated his certainty that three paintings preserved in the Museo del Prado are not of Hieronymus Bosch, Bosch, as he announced the discovery of a work by painter has remained for decades in the warehouse of a museum of Kansas.
Research Project Conservation Bosch presented yesterday in this community, the hometown of the painter, the results of their work to study and document with the most innovative techniques all the work of the most important medieval Dutch artist.
Experts stress, after other discoveries announced in recent months that a version of “The Temptation of St. Anthony”, rated working for years as an apprentice or disciple of Bosch and stored in a warehouse of the Museum of Art Nelson-Atkins Kansas, is actually the painter.
The table will be the main attraction of the exhibition that pays tribute to the painter in his village in the 500th. anniversary of his death and that will open on Saturday 13.
Scott Heffley, curator of American Museum revealed that bought the box “in 1936, thinking that the work was Bosch,” but “our For years researchers changed her authorship and attributed it to one of his pupils “.
” Perhaps this change was due to the restoration that took him in 1940, it was not as good as it should have been ” .
Heffley said experts of the Research Project Conservation Bosch is interested in painting and, after analyzing it, actually discovered that itself had been painted by the master.
In the painting is a San Antonio, recognizable by the T-shaped cross your mantle, filling a jug with water in a river.
The saint is threatened in its existence dedicated to God the creatures around him a little hidden underneath a funnel, a monster with the head of a fox and a leg of pork on a board floating in the water
The team led by Matthijs Ilsink too. sheds light on other previously attributed to El Bosco, including some in the Museo del Prado jobs. For experts Project “Extracting Stone of Madness”, “The Temptation of St. Anthony Abbot” and “The Seven Deadly Sins and the Four Last Things” are not the work of the Dutch painter, but were probably made by a follower.
“We looked in depth with our teams ‘Extraction of the Stone of Madness’ and we believe that there is the workshop of Bosch or is painted by a follower of Bosch, but not teacher” said Ilsink.
As for “The Temptation of Saint Anthony” and “The Seven Deadly Sins and the Four Last Things,” art historian said that are not attributable to the artist, but acknowledged they could not analyze their own equipment to “not get the necessary authorization.”
The second table, adding that “it was not painted on oak, which is easy to date, but in another kind of wood.” The Prado said that “respects” the study made public, but disagrees with its conclusions.
In a statement issued hours after the announcement in the Netherlands, El Prado said that the study “does not provide any technical data or materials “about the pictures” that is incompatible with the responsibility of Bosco, and based their judgments on highly subjective assessments stylistic. ” The museum, “owner of the largest collection of works by Hieronymus Bosch preserved and pioneer in the technical study of the painter”, the statement of the Prado itself, maintains responsibility for the Bosco of “The Seven Deadly Sins and the Four Last Things” and “The Temptation of San Antonio Abad “but says nothing about” Extraction of the Stone of Madness “.
The Bosco More details about the studied works
International Researchers shed light on the work of Hieronymus Bosch, Bosch.
The version of Kansas
“The Temptation of St. Anthony”, dating from 1500-1510, the last period of activity of Bosch, is a fragment of a larger one, which was shortened by all sides.
Relations
Using infrared photography and infrared reflectography researchers visualized some signatures that perfectly relate to everything found in other paintings of the central work of Hieronymus Bosch.
Attraction
The art historian and coordinator of the Research Project and Conservation Bosch, Matthijs Ilsink, consider finding one small but important addition to the artist’s
Source: EFE
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