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Cornelis Cort (printmaker), Dominicus Lampsonius (text), widow of Hieronymus Cock (publisher), 1572. Rijksmuseum, Amsterdam, RP-P-2020-2845 (https://id.rijksmuseum.nl/200777534) · Engraved portrait of Hieronymus Bosch, inscribed 'Hieronymo Boschio pictori', by Cornelis Cort, 1572, number 3 in the series of portraits of famous painters of the Low Countries (Pictorum aliquot celebrium Germaniae Inferioris effigies) with a Latin verse by Dominicus Lampsonius, published in Antwerp by the widow of Hieronymus Cock; Rijksmuseum, Amsterdam, object RP-P-2020-2845. Made decades after the painter's death. The file is the museum's 2438 x 3718 pixel scan downscaled to 787 x 1200 with no cropping and no upscaling; the scan shows the museum's object-number label at lower left. · Public domain (1572 engraving; the Rijksmuseum marks the image with the Public Domain Mark and releases the record data under CC0)
화가 · 근세
히에로니무스 보스
1450–1516
주요 업적 분야
예술문화역사
아직 성격 매칭에 포함되지 않았습니다 — 기록된 근거가 성격 모델 전체를 다루기에는 충분하지 않습니다. 이 페이지의 다른 모든 내용은 자유롭게 확인하실 수 있습니다.
핵심 특성
주요 업적
스헤르토헨보스의 네덜란드 화가(1450년경~1516)로, 유혹과 죄, 지옥을 다룬 독특하고 상상력 넘치는 도상으로 유명하며 『쾌락의 정원』, 『건초 마차』, 『성 안토니우스의 유혹』 같은 세폭 제단화를 남겼다.
그의 작품은 생전에도 모방되어 그의 이름으로 팔렸으며, 브리태니커는 그의 이미지가 피터르 브뤼헐(아버지)과 초현실주의자들에게 영향을 주었다고 평가한다. 진품으로 인정되는 패널은 약 25점에 그친다.
그는 평생 스헤르토헨보스에서 가족 작업실을 꾸려 활동했으며, 성모 형제회의 중요한 의뢰인으로서 예배당 장식 작품을 제작하고 다른 작업 의뢰에 대해 조언했다.
삶의 장면들
보스 연구·보존 프로젝트의 적외선 조사에서 덧칠과 밑그림이 발견되었고, 프로젝트 조정자는 보스가 작업 중 자주 생각을 바꾸었다고 설명한다.
이는 제작 도중 구도를 고쳐 나간 화가의 면모와 일치한다. 실험 성향
그는 성모 형제회를 위해 성 요한 대성당 예배당 장식 작품을 제작했고, 다른 예술가와 장인에게 맡길 작업에 대해 조언했으며 때로는 제출된 작품의 평가도 맡았다.
이는 지역 후원 단체가 다른 제작자의 작업을 이끌고 평가하도록 맡긴 예술가의 면모와 일치한다. 협업 성향
전환점
보스는 1486년부터 공식 기록과 성모 형제회 명부에 이름이 오르며, 1516년 사망할 무렵에는 뛰어난 화가로 칭송받고 고장에서 가장 부유하고 존경받는 주민의 하나로 꼽혔다.
이는 경력이 쌓이면서 의뢰의 폭과 지역에서의 위상이 커진 장인의 면모와 일치한다. 분야 횡단성
비슷한 인물
전체적인 프로필이 이 사람과 닮은 사람들이에요.
출처
- Hieronymus Bosch (Q130531), verified live via the Wikidata API (2026-11-04): English label 'Hieronymus Bosch', Korean label 히에로니무스 보스, Wikidata's description in the API response reads 'painters in art (1450-1516)', birth recorded only as 1450 (year precision), death 9 August 1516. Orientation only; not used as support for any row.
- Encyclopaedia Britannica, 'Hieronymus Bosch' (encyclopaedia biography by Kathleen Kuiper, fact-checked by the editors), read in full. CANONICAL SIGNIFICANCE SOURCE: innovative Netherlandish painter c. 1450-1516, born and buried in 's-Hertogenbosch, known for an unusual iconography and complex individual style, with devils, satire and moralizing meaning; of some 35 to 40 paintings then attributed to him only 7 are signed and none dated; little documentary information on his early life beyond being son and grandson of painters; his name is on the register of the Brotherhood of Our Lady and in official records from 1486 until his death, when he was acclaimed Insignis pictor; besides panel painting he undertook decorative works and altarpieces and made designs for stained glass; the great triptychs of his middle period include the Haywain, the Temptation of St. Anthony and The Garden of Earthly Delights; by his death he was among the richest and most respected residents of his town; widely imitated, influencing Pieter Bruegel the Elder and the Surrealists. Neutral encyclopaedia entry; the attribution counts are older than the 2016 research.
- Museum Boijmans Van Beuningen, 'Jheronimus Bosch' (artist page), read in full: probably born around 1450 in Den Bosch as Jheronimus van Aken, adopting the city's name when his fame had spread; an innovator of the medieval image tradition whose works are satirical but also witty and moving; around twenty-five works are known as originals; he lived and worked there all his life, from a family of painters whose studio stood on the market square (father, brother, a cousin and several uncles also worked in it); the Confraternity of Our Lady was an important client, for whom he made several works for the redecoration of its chapel in Saint John's Cathedral, advised the brothers on commissions to other artists and craftsmen, and was sometimes called upon to appraise submitted work; artists copied him even in his lifetime and some sold paintings under his name, and collectors were soon warned of forgeries; no more than about twenty-five panels are accepted as authentic; the page names 'Philip the Good' as the 1504 patron of a Last Judgment triptych, which cannot be right for a duke who died in 1467 and is not used here. Museum collection page; admiring in tone and not fully accurate on that point.
- New World Encyclopedia, 'Hieronymus Bosch' (encyclopaedia entry adapted from open sources), read in full: states that Bosch left no letters or diaries, that what is known comes from brief references in the municipal records of 's-Hertogenbosch and the account books of the Brotherhood of Our Lady, and that 'nothing is known of his personality or his thoughts on the meaning of his art'; gives him as grandson of the painter Jan van Aken and son of Anthonius van Aken, who advised the Brotherhood; first in the municipal record in 1474; joined the Brotherhood in 1488 (other sources say 1486/87); the Brotherhood's accounts record his funeral mass at Saint John's on 9 August 1516; fewer than 25 paintings can be attributed to him. Derivative encyclopaedia entry, used for what the records do and do not allow; the 1488 date conflicts with Britannica's 1486.
- Historians of Netherlandish Art Reviews, '2016 Publications on Hieronymus Bosch' (review essay of the Noordbrabants Museum and Prado exhibition catalogues and the Bosch Research and Conservation Project catalogue raisonne and technical studies, published November 2016), read in full: scholarly society review noting that new infrared examination shows underdrawing and preliminary layout as part of Bosch's working procedures, that he came from a multi-generational family of painters and 'surely had assistants', that the Dutch project secures a core group of authentic paintings and assigns very few to the workshop while the reviewer cautions against judging authenticity mainly from underdrawings and notes Fritz Koreny's different division of hands, and that the Vienna Last Judgment triptych shows multiple hands and was not studied in the exhibitions. Independent scholarly voice and the counter-voice on the size of the authentic corpus and the role of the workshop.
- Emily Sharpe, 'The story behind the reattributed drawing by Hieronymus Bosch', The Art Newspaper (23 December 2015), read in full: report on the Bosch Research and Conservation Project (a five-year study before the 2016 anniversary) upgrading the Infernal Landscape drawing from workshop to authentic after infrared reflectography and macro photography; the project coordinator Matthijs Ilsink says Bosch often changed his mind as he worked so that his paintings have a lot of overpaint and underdrawings, and that figures in the drawing match underdrawings beneath other works; the project also judged Christ Carrying the Cross in Ghent to be by a follower, which the museum says was not a surprise because the attribution had long been debated. Trade press report quoting one researcher; the 'changed his mind' remark is a single project member's statement.
- Rijksmuseum, Amsterdam, collection record RP-P-2020-2845 'Portret van Jheronimus Bosch' (linked-art record at id.rijksmuseum.nl/200777534), read: engraving of 1572 by Cornelis Cort (an attribution to Johannes Wierix is marked as rejected), text by Dominicus Lampsonius, published by the widow of Hieronymus Cock (Volcxken Diericx), Antwerp, number 3 in the series 'Pictorum aliquot celebrium Germaniae Inferioris effigies' (portraits of famous painters of the Low Countries), plate 196 x 122 mm; the image carries the Public Domain Mark and the record data CC0. Museum record used for the portrait, not as support for any row.