“Bosch did not celebrate human folly, he painted it as an affront, innate perhaps, to Godโs order. Mankind, for him, found it so much easier to disobey Godโs strictures than to obey them, and humanity was one long parade. The people in his pictures โ the misers, the licentious, the drunken, as well as, far less often, the devout โ are always on their way to one of only two destinations: heaven or hell.โ
Prodger (2016)
The Garden of Earthly Delights, by Dutch master Hieronymus Bosch, could be my favourite painting. On some days, like today for example, it most certainly is.

Rembrandtsโ The Night Watch (not a Game of Thrones reference) and The Astronomer by Vermeer in the Louvre, are the other two paintings that come to mind immediately when I think of my favourite paintings. The argument can be made that neither of these paintings are as controversial, technically proficient, or contextually versatile as Boschโs masterpiece.
โThe originality of Boschโs conception as well as the skill and effort he expanded on making The Garden of Earthly Delights an extraordinary visual experience testify to his ambition and allies him with other adventuresome artists and writers working in this challenging and troubled age.โ
Sullivan (2014)
The Garden of Earthly Delights is a captivating piece of imagery, the 15th century version of a streaming I Pad when other artists were still using Nokia brick phones.
It remains scarily fascinating to view even as attitudes to religion have changed today the world is much more interconnected. I can imagine The Gardenโs effect individuals gazing at it during a less secular, more superstitious time and place.
The Garden of Earthly Delights is a triptych incorporating three internal panels; they represent Boschโs heaven, purgatory and hell. On the outside of the triptychโs doors is another image that represents the third day of Godโs Making of the World.

โIn the Garden of Earthly Delights, Bosch pushed the possibilities of the triptych format to the limit. He expanded its thematic scope to include depictions of human sexuality that previously were excluded. He established within the triptych different zones of equal levels of importance, and then exploited the possibilities for unity and division inherent in the triptych’s structure to attain new levels of thematic sophistication.โ – Jacobs (2000)
I strongly encourage you to visit, view, and download The Garden of Earthly Delights at the Museo Del Prado or look through the Hieronymus Bosch Research Project web page, where you can literally get inside the paintings and drawings from Boschโs amazing career.
For more lighthearted information on Bosch; the man, the brand and his art click on the video below…
You can also view Boschโs work โ and a variety of many different types of analysis – through a variety of multimedia options; youtube videos, information specific or museum specific apps, and through social media formats.
The sheer amount of quality information available supports the view that if done correctly the introduction of digital media can add to the art consumerโs experience.
โThe digital habitat has provided museums with new media specimens that have made it possible to exponentially increase their knowledge spreading power… As with other long-standing institutions, and in fact with society itself, museums have continued to adapt to the changes of modern life, but their desire to tell stories remains the same.โ
Mateos and Gifreu (2018)

Thereโs so much to take in however you engage The Garden of Earthly Delights. I visited the Museo Del Prado in 2005 as part of a two-week trip through the best of Spain.
I can relive my visit quite well in my mind eye, and managed to pull out my European notebook to reinforce these museum memories (and remind myself that if the FBI come to call, I’ll have some explaining to do about my note taking method)

“Before the digital revolution, museums had a limited potential of reaching audiences, but now they have an immediate and massive channel for spreading contents. Now in the 21st century, museums have no constraints, or only the ones they create, for telling their stories.โ
Mateos and Gifreu (2018)
I remember the works of Goya, El Greco, and Velaszquez. The crisp, white walls, air-conditioned coolness and high ceilings of the building accentuating the beautiful simplicity of the Pradoโs layout.
But more than anything else, including the poor bugger ahead of my in the entry line that couldnโt get through the metal detectors due to his fantastic array of genitalia piercings, I remember โEl Boscoโ and the Garden of Earthly Delights.
โAlthough recent studies have emphasized numerous ways in which the artist “fit into” his times, the Garden of Earthly Delights continues to intrigue both casual viewers and scholars because it does not closely resemble any other paintings of its era.โ
Mann (2005)
Duality was a huge thematic concern for Bosch in his painting.
โHis paintings often juxtapose within a single work saints and sinners, heaven and hell, beauty and ugliness, all rendered in a style that sets up tensions between depth and flatness, and between sketchy and detailed renderings of forms.โ
Jacobs (2000)
Duality is important today for the consumption and engagement with art as much as the pieces themselves.
There is the traditional viewpoint; standing in rooms, looking at the old, new, familiar and weird art in hushed awe, revulsion or indifference, being there to grasp itsโ appeal to enjoyment, culture, and identity.
Or, be another continent away and do the same thing online by having access to more information, better knowledge and comprehensive analysis, with potentially a digitally re-mastered’ version of the artwork.
I stood feet away from the The Garden of Earthly Delights behind a velvet rope, alongside shuffling museum patrons fiddling with headsets and heavy battery packs, listening to unimaginative commentary while clasping guidebooks containing less than a paragraph of useful information.
Thanks to an extensive collaboration between the Bosch Research Project and the Museo Del Prado (for the 500th Anniversary Exhibition of Boschโs death in 2016) there are massively high-resolution digital images of his paintings and drawings available, along with a load of complimentary data, technical specs, and the rockstar line up of contributors to the project.

I clicked on the Garden of Earthly Delights, zooming in so far that I could see the microscopic paint chips on a horsesโ bum in the central panel. I felt like a policeman searching CCTV footage for the glimpse of a killerโs face.
The message for me?
You can see the Garden of Earthly Delights (or other major artworks, museum collections, and installations) right now, in its latest form, without having to get out of your seat, book a flight to Madrid, and get your genital piercings inspected by security.
Being able to investigate art in this fashion is as equally amazing as clapping your eyes on the original and getting gouged at the gift shop.
References
Lynn F. Jacobs (2000) โThe Triptychs of Hieronymus Boschโ, The Sixteenth Century Journal, vol. 31, no. 4, p. 1009, viewed 20 May 2019
Michael Prodger (2016) โDevil in his detail: living in an age of progress, Hieronymus Bosch sent his monstrous creations hurtling back to the Dark Agesโ New Statesman, Vol. 145, Issue 5306-5307, via the Literature Resource Center Database
Mateos, RSM & Gifreu, (2018), โTransmedia Storytelling and Its Natural Application in Museums. The Case of the Bosch Project at the Museo Nacional del Pradoโ, Curator, vol. 61, no. 2, pp. 301โ313, viewed 21 May 2019
Margaret A. Sullivan (2014) โThe timely art of Hieronymus Bosch: the left panel of โThe Garden of Earthly Delightsโโ, Oud Holland, vol. 127, no. 4, p. 165, viewed 20 May 2019
R. G Mann (2005) โMelanie Klier. Hieronymus Bosch: Garden of Earthly Delights,โ Utopian Studies, (1), p. 151, viewed 20 May 2019





