Bosch Art Quotes

The paintings of Francis Bacon to my eye are very beautiful. The paintings of Bosch or Goya are to my eye very beautiful. I've also stood in front of those same paintings with people who've said, 'let's get on to the Botticellis as soon as possible.' I have lingered, of course.

Whoever uses the spirit that is in him creatively is an artist. To make living itself an art, that is the goal.

I'm relaxed, Belk. I call it Zen and the art of not giving a shit.

Artists are supposed to stay hungry.” “That’s bullshit. That’s a myth invented to keep the artist down because art is powerful. You give an artist both money and power and they’re dangerous.

If it be knowledge or wisdom one is seeking, then one had better go direct to the source. And the source is not the scholar or philosopher, not the master, saint, or teacher, but life itself - direct experience of life. The same is true for art. Here, too, we an dispense with "the masters.

Eccentric and secret genius that he was, Bosch not only moved the heart, but scandalized it into full awareness. The sinister and monstrous things that he brought forth are the hidden creatures of our inward self-love: he externalizes the ugliness within, and so his misshapen demons have an effect beyond curiosity. We feel a hateful kinship with them. The Ship of Fools is not about other people. It is about us.

The civilized people in the world, the ones who hide behind culture and art and politics… and even the law, they’re the ones to watch out for. They’ve got that perfect disguise goin’ for them, you know? But they’re the most vicious. They’re the most dangerous people on earth.

Hieronymus Bosch and Pieter Bruegel were two early Flemish artists who specialized in bizarre allegorical paintings.

The art of sports writing always amazed me. Nine out of ten times the reader already knows the outcome of your story before reading it. They know who won, they probably even watched the game. But they read about it anyway and you have to find a way to write with an insight and angle that makes it seem fresh.

In art as in experience, everyday life may be with us at the start but remains fugitive to the very end.

Whereas painters of the early and middle 1400s enriched their own (and their countrymen's) understanding of the Gospel by recreating it in reality, their successors used this technique to study (and broaden) their entire world view. Hieronymus Bosch mastered a whole genre by merging the realism of Flemish painting with fantastic allegories of the human condition. His pictures of vermin and birds in men's clothing, atrocities, and weirdly juxtaposed objects use the realism of the earlier masters as a means of stark caricature. It was in this form, the most extreme possible, that character and moral differentiation were introduced into the realm of realistic depiction.

I’ve had so many influences and sources of inspiration as an illustrator that it is impossible to name just one. I loved Aubrey Beardsley when I was a student, and then Edmund Dulac and other Golden Age illustrators made a big impact, as well as Victorian painters like Richard Dadd and Edward Burne-Jones. My long-term heroes though are Albretch Durer, Brueghel, Hieronymous Bosch, Jan Van Eyck, Leonardo, Botticelli, Rembrandt, Turner and Degas. What most of them have in common is brilliant draughtsmanship and a strong linear or graphic quality. Most are also printmakers. The one I keep going back to and who fascinates me the most is JMW Turner, the greatest watercolourist.

Art Pepper

Impressionists, Cubists, and Surrealists who had stunned the world between 1870 and 1960 by entirely redefining art. VAN GOGH… SEURAT… PICASSO… MUNCH… MATISSE… MAGRITTE… KLIMT… KANDINSKY… JOHNS… HOCKNEY… GAUGUIN… DUCHAMP… DEGAS… CHAGALL… CÉZANNE… CASSATT… BRAQUE… ARP… ALBERS… This section terminated at one last architectural rib, and Langdon moved past it, finding himself in the final section of the library. The volumes here appeared to be dedicated to the group of artists that Edmond, in Langdon’s presence, liked to call “the school of boring dead white guys”—essentially, anything predating the modernist movement of the mid-nineteenth century. Unlike Edmond, it was here that Langdon felt most at home, surrounded by the Old Masters. VERMEER… VELÁZQUEZ… TITIAN… TINTORETTO… RUBENS… REMBRANDT… RAPHAEL… POUSSIN… MICHELANGELO… LIPPI… GOYA… GIOTTO… GHIRLANDAIO… EL GRECO… DÜRER… DA VINCI… COROT… CARAVAGGIO… BOTTICELLI… BOSCH… The last few feet of the final shelf were dominated by a large glass cabinet, sealed with a heavy lock. Langdon peered through the glass and saw an ancient-looking leather box inside—a protective casing for a massive antique book. The text on the outside of the box was barely legible, but Langdon could see enough to decrypt the title of the volume inside. My God, he thought, now realizing why this book had been locked away from the hands of visitors. It’s probably worth a fortune. Langdon knew there were precious few early editions of this legendary artist’s work in existence. I’m not surprised Edmond invested in this, he thought, recalling that Edmond had once referred to this British artist as “the only premodern with any imagination.” Langdon disagreed, but he could certainly understand Edmond’s special affection for this artist. They are both cut from the same cloth. Langdon crouched down and peered through the glass at the box’s gilded engraving: The Complete Works of William Blake. William Blake, Langdon mused. The Edmond Kirsch of the eighteen hundreds. Blake had been an idiosyncratic genius—a prolific luminary whose painting style was so progressive that some believed he had magically glimpsed the future in his dreams. His symbol-infused religious illustrations depicted angels, demons, Satan, God, mythical creatures, biblical themes, and a pantheon of deities from his own spiritual hallucinations

Frank Morgan, George Cables, Art Pepper, Ron Carter, and Thelonious Monk.

Who was that supervisor?” “That was Art Donovan.

I've been strongly influenced, in technique as well as subject matter, by some of the early 20th-century book illustrators — Arthur Rackham and Edmund Dulac in particular, Burne-Jones and other Pre-Raphaelites, and the Arts-&-Crafts movement they engendered. I'm continually inspired by Rembrandt, Breughel (I've wondered whether his brilliant "Tower of Babel" had inspired Tolkien's description of Minas Tyrith), Hieronymous Bosch, Albrecht Durer, and Turner; it's not necessarily that they influence my work in any particular direction, more that their example raises my spirits, re-affirms my belief in the power of images to move and delight us, and shows me how much further I have to go, how much is possible. Having visited Venice and Florence for the first time, I am besotted with the Italian Renaissance artists — Botticelli, Bellini, da Vinci and others. Their work is calm, controlled, and yet each face and landscape contains such passion. In Botticelli's paintings, every pebble and every leaf is rendered with a religious devotion; there is reverence inherent in paying such close attention to every stone, turning painting itself into a form of worship, an act of prayer.

She’ll change. It’s like winning the lottery, man. Found money, more than she’ll ever need.” “And I guess that’s the point. More than she’ll ever need. You ever read those stories about people who win the lottery and how it ruins their lives? They can’t adjust, they meet people with their hands out wherever they go. She’s an artist. Artists are supposed to stay hungry.” “That’s bullshit. That’s a myth invented to keep the artist down because art is powerful. You give an artist both money and power and they’re dangerous.

Literary (any book your language arts teacher wants you to read)

Titus Crow is an occult investigator, a psychic sleuth, an agent for Good in the detection and destruction of Evil. During WWII, as a young man, he worked for the War Department; his work in London was concerned with cracking Nazi codes and advising on Hitler’s predilection for the occult: those dark forces which Der Führer attempted to enlist in his campaign for world domination. Following the end of the war, and from then on right through a very active life which encompassed many “hobbies,” he fought Satan wherever he found him and with whichever tools of his trade were available to him at the time. Crow became, in fact, a world-acknowledged master in such subjects as magic, specifically the so-called “Black Books” of various necromancers and wizards, and their doubtful arts; in archaeology, paleontology, cryptography, antiques and antiquities in general; in obscure or avant-garde works of art—with particular reference to such as Aubrey Beardsley, Chandler Davies, Hieronymous Bosch, Richard Upton Pickman, etc.—in the dimly forgotten or neglected mythologies of Earth’s prime, and in anthropology in general, to mention but a handful.

If we live, eventually we become some weird sort of pieced-together work of art. I think that’s what Dali, and Bosch, and Kahlo were talking about. And if you get to that point. That second life—as it were. That’s real living.

This in itself was an art. He had to describe the bracelet the way he believed other cops would, cops who might be typing in descriptions of a whole inventory of jewelry taken in a robbery or burglary.

L’arquitectura és, també, la lluita incessant entre l’home i la naturalesa. És l’art que esculpeix contra el cel. Ocupa l’espai i el gasta. Construir una casa, posem per cas. Pensar-la, dibuixar-la, col·locar una primera pedra sobre la terra i, després d’una, una altra i una altra fins a aixecar-la, és una conversa amb la seva època. No vol canviar el temps, sinó expressar-lo.

Bosch was not possessed by a deranged spirit but the possessor of a cool, calculating mind. His supreme mastery of the arts is proved by his ability to paint cerebrally constructed devils, of which the component parts each has its own meaning.

Bosch was not possessed by a deranged spirit but the possessor of a cool, calculating mind. His supreme mastery of the arts is proved by his ability to paint cerebrally constructed devils, of which the component parts each has its own meaning. This, in short, is genius, and modern art historians who see Bosch as a surrealist have been led astray by it. Bosch had a keen eye for the demonic element in what he observed (e.g. in colours and human faces) and he understood and knew exactly how to make use of it and achieve the desired effects.

I DON’T REMEMBER what year it was that I started noticing apocalyptic language in the art classes I taught at Stanford. I just remember the student who made a detailed, animated triptych based on The Garden of Earthly Delights, by Hieronymus Bosch. The three collages got darker and bleaker from left to right. “It’s kind of like…the sunset of humanity,” the student said, laughing nervously. Or the student who, standing in front of a projector screen showing his 3-D project and tasked with explaining it, said in a small but tortured voice, “Well, I just feel like the world is ending and all that,” at which everyone mutely nodded. I remember thinking it seemed vulgar to continue on talking about vectors and shaders after that. And I remember wanting to run across the classroom and give that student a hug.

Now I’m no art critic, but in a time seen as a bridge between the late middle ages and the early renaissance, where the church played such a substantial part in the day to day running of people's lives, Bosch’s Garden of Earthly Delights, which is painted on oak with a square middle panel flanked by two doors that close over the centre like shutters, is rather racy. When the outer shutters are folded over they show a grisaille painting of the earth during creation. But it’s the three scenes of the inner triptych that fascinate me. If you’re unfamiliar with the painting, I’ll do my best to describe it for you. Apologies in advance if I miss anything out. It’s regular sort of stuff, you know, naked women being fondled by demons, a bloke being kissed by a pig dressed as a nun, another bloke being eaten by some kind of story book character while loads of blackbirds fly out of his arse, a couple locked in a glass sphere and – let’s not beat about the Bosch here – locked in each other’s embrace as well. There are loads of people feeding each other fruit, doing handstands, hatching out of eggs, climbing up ladders to get inside the bodies of other people and looking at demon’s arses. There’s a couple getting caught shagging by giant birds, and a white bloke and a black Rastafarian with ‘locks (400 years before the Rastafari movement was founded) about to have a snog. You’ve got God giving Eve to a very puny-looking, limp-dicked Adam, and there’s a bunch of people sitting around a table inside the body of another bloke while an old woman fills up on wine from a decent-sized barrel while a kind of giant metal face pukes out loads of naked blokes who go running into a trumpet and another bloke being fed a cherry by a giant bird while a white bloke shows a black lady something in the sky. It’s all going on! There's loads of those ‘living dead’ mateys walking about, and a bloke carrying giant grapes past a topless girl with, it has to be said, pretty decent tits. She’s balancing a giant dice on her head while doing something strange to another bloke’s arse while a rabbit in clothes walks past. You can’t see what she’s doing because there’s a table in the way but beside them is a serpent-type creature with just one massive boob and a pretty pert nipple. One huge tit the size of his chest! Of all things, he’s holding a backgammon board up in the air. I’d say Bosch was a tit man, wouldn’t you? But there’s more. There’s a crowd of naked girls – black & white - in a water pool, all balancing cherries on their heads; read into that what you will. There are just LOADS of naked women in this water pool, including one of the black girls who’s balancing a peacock on her head. There are dozens of nudists riding horses around them in a circle. Some are sharing the same horse, so I must admit that in places it appears to be a little intimate. And now what have we got! There’s a couple cavorting inside a giant shell which is being carried on the back of another bloke. Why doesn’t he just put it down and climb in and have a threes-up? There are people with wings, creatures reading books and just more and more nudists. There’s a naked woman lying back, and this other bloke with his face extremely close to her nether regions! What on earth does the blighter think he’s playing at? There’s loads of grey half men-half fish, some balancing red balls on their heads like seals, and another fellow doing a handstand underwater while holding onto his nuts. You’ve got a ball in a river with people climbing all over it, while a bloke inside the ball is touching a lady in what appears to be a very inappropriate manner! There’s a kind of platypus-type fish reading a book underground and Theresa May triggering Article 50 of Brexit (just kidding about the Theresa May bit).