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00:02:05Who are the we?
00:02:06The we are millions of people, thousands, hundreds of thousands of people who actually go to the Prado Museum, see
00:02:13the painting in reality.
00:02:15But the painting is very well known internationally, globally, through the internet.
00:02:21So many people have visually access to the painting long before they even go and see the painting itself.
00:02:30People from all over the world with all the different cultural backgrounds look at the painting and they therefore look
00:02:36at it in many fold different ways.
00:02:47When we look at the garden for the lights, we usually immediately look at the interior.
00:02:55But this is not the way people started to look at the painting at the times of Bosch.
00:03:06It is a triptych and usually a triptych was closed regularly and only opened for special occasions.
00:03:14And the way people start to see the art of Bosch.
00:03:47It's also a theatrical moment to have it closed and then to open it and enter inside.
00:03:55I admire and like the patience, the joy of doing little details one by one.
00:04:03Look at this, how beautiful, with the real pavos on the head.
00:04:08And here, the siren with the siren, the arm, the wolf with the long ears.
00:04:17To paint is to name things correctly.
00:04:20Look at this thistle, I mean, it's just, it's extravagant.
00:04:24Look at this plum, maybe.
00:04:28There are a lot of fruits that go from bananas, granadas, mors...
00:04:34The giraffe, for example, is ingenious and clean, right?
00:04:39The pleasure of flying, who has never dreamed that he would fly?
00:04:44This is very interesting, the neck of the neck is burning.
00:04:50There is one who is almost dead with a siren or is very tired.
00:04:54And then things that you don't know directly what they are.
00:04:59Or I don't know what they are.
00:05:03Where did all this come from?
00:05:06From what head?
00:05:09Where did that dionisian fantasy come from?
00:05:14I think it's maybe this is the most iconic image in the painting.
00:05:19And maybe it's a self-portrait, maybe not.
00:05:22You must be an artist, even at different ages,
00:05:26with this little girl, so beautiful.
00:05:29I don't know much the psyche of Bosco's psyche,
00:05:33but I don't even know him.
00:05:38And that brings us, in a way, to the question,
00:05:41what kind of a man was he?
00:05:44What does the fuck seem to be?
00:05:49Well, and that's when I take a look and see.
00:06:02Both of these characters,
00:06:03That's why I think that's why that's why I have to take a look.
00:06:03And what's the inside being?
00:06:03What's the inside being?
00:06:03Down in a man's watch.
00:06:03I don't know, but I think that's why I have to get the inside.
00:06:04And I think the inside being.
00:06:06I've been doing this.
00:06:12You have to get a natural feeling.
00:12:21in the celebrations of the Brotherhood of Mary.
00:12:27This trΓptico painted it for the altar of the altar of Nuestra SeΓ±ora,
00:12:35which was in the church of his people.
00:12:38It seems that he did it with a lot of pride, with a lot of dedication,
00:12:45because he was the altar of Nuestra SeΓ±ora.
00:12:51I think that he was worried about the processions, the decorations of the altar.
00:12:58He must have been, to a certain degree, a learned man himself.
00:13:02This is what you can refer from the many paintings and the diversity of the painting
00:13:06and the inventiveness of his work.
00:13:09He is not a run-of-the-mill painter, clearly. He is not a simple craftsman.
00:13:15Originally was called Van Aken, Hieronymus Van Aken.
00:13:19He later, in 1504, signed his paintings by Hieronymus Bosch.
00:13:26But that was his own nickname.
00:13:29And then he became very well known as Hieronymus Bosch.
00:13:33Or in Spanish, he was of course called El Bosco.
00:13:37We don't even have a clear portrait of him.
00:13:40There is a drawing, a later drawing, that tradition says, is a drawing of Johannes Bosch.
00:13:45But we don't even know for sure.
00:13:46There is no way beyond this drawing of the living of God.
00:14:13Medieval people thought there were two books, not only the Bible or the scriptures, but
00:14:20also the book of nature, that both were creations by God.
00:14:28What are the words?
00:14:29The words are the creatures.
00:14:31The words are the animals, are the plants, are the human beings.
00:14:35Everything would somehow contain a trace of its divine essence of the creator.
00:15:00As you see here at the miniature, you put them on a table, as we do today in a library,
00:15:05the same thing 500 years ago.
00:15:08And they stand around and they read, discuss, look at these manuscripts.
00:15:15They make us aware of the fact that it is a shared literary culture and that the enjoyment
00:15:21of the images in relation to the text is something that is part of this sharing.
00:15:25And this is important for our understanding also of the Garden of First Delights because
00:15:31you actually share with each other and that you know that the other person standing in
00:15:35front of the painting may also know.
00:15:36people.
00:15:37So there is a, in art history, people sometimes use the term period eye.
00:15:43All the time.
00:15:44All the time.
00:15:46All the time.
00:16:03All the time.
00:16:05Beek.
00:16:11And the times.
00:16:35What is the concept of these tapisseries,
00:16:39the cultural environment in which they were created,
00:16:43is a very positive vision of the world.
00:16:48A world that is also the nature,
00:16:52which is the nature of the men and women of the Middle Ages,
00:16:56including in this period, which we often consider as a charnier,
00:17:00around 1500.
00:17:02So, a close nature,
00:17:05a nature that is also the one that often serves as a cadre of the courtois love.
00:17:27All these garden metaphors were then understood to be the place where the lovers get together.
00:17:34Love is not only love in the way that we know it,
00:17:37as important as it is in our lives,
00:17:39but it can encapsulate all the virtues that a knight, a courtier,
00:17:46should contemplate, cultivate, exercise, play with in a courtly manner.
00:17:53And, of course, this is where Bosch goes over the top.
00:18:01You go into the inner gym, the inner gym of love.
00:18:06You try to, if you will, to build the muscles of love.
00:18:29The moment suprΓͺme of the story of the Romans of the Rose is that Amon, the lover, plucks the rose
00:18:37of the beloved.
00:18:39And we all know what the plucking means.
00:18:56The legend tells us that,
00:18:59to capture a licorne, which is an extremely thin animal,
00:19:03only a young woman can catch her face.
00:19:06If she plunge her corne in the water, she purifies the water.
00:19:11But it's also a very obvious symbol sexuel.
00:19:16It's something that is very characteristic of the medieval thought,
00:19:19but there is a very particular development around the 1500,
00:19:24which is what we call the polysΓ©mie,
00:19:26which is the multiplicity of meanings.
00:19:29We must imagine that we are here in a pre-cartesian world, non-cartesian world,
00:19:35and that women and women of the Middle Ages accept,
00:19:39without that it would cause problems,
00:19:41the meanings that, for us, could be opposed,
00:19:43but that, for us, could be completed.
00:19:54It's what grotesque, what graceful,
00:19:56the same as the chairs of the chorus,
00:19:58the misericordies where they sit down,
00:20:00the gΓ‘rgolas, these bichos,
00:20:02they have this comic, popular, graceful,
00:20:05but at the same time,
00:20:06always in this time, the intention is moralizing.
00:20:16This, for example, this grotesque,
00:20:18which is a kind of grouille but has a monkey on top of it,
00:20:22this individual who looks like a kind of frayle with the rosary
00:20:25but goes with the callado,
00:20:27this is the environment.
00:20:35Marginal figures, marginal motifs
00:20:37that you find in the margins of these kind of manuscripts.
00:20:39He blows them up, he makes them larger,
00:20:42he makes them the main figures of a huge painting,
00:20:46instead of keeping them marginalised, so to speak.
00:20:49Yeah, all these interactions of people and fruit,
00:20:52that directly comes from margins,
00:20:54pieces of fruit that you see in the garden of earthly life.
00:21:07All the hours books have an iconographic repertoire,
00:21:10more or less fixed,
00:21:11with the calendar,
00:21:13the lives of saints,
00:21:14the scenes of the life of Christ and the Virgin,
00:21:16and almost all of them have a service of people,
00:21:19a kind of requiem's misa,
00:21:21which is exemplary,
00:21:22that is, like the vision of the knight Thondale.
00:21:26The vision of Thondale is about an Irish knight.
00:21:30He's not a very pious person.
00:21:32He has a vision.
00:21:34His soul is being taken out of his body
00:21:37and is brought into a very gloomy region
00:21:40where he's being threatened by demons.
00:21:43He's then being saved by an angel who suddenly appears,
00:21:47and the angel then shows him heaven and hell,
00:21:50especially hell,
00:21:51and all the tortures that the damned souls are subjected to.
00:22:00And when he wakes up,
00:22:02the angel tells him that he has to tell the story
00:22:05about his terrible vision that he has
00:22:07and that he has to improve his life,
00:22:09which he then does.
00:22:10He becomes a very pious person.
00:22:14In Bosch, Scar and the First Light,
00:22:16the whole setting is given to the viewer as a dream landscape.
00:22:28On sait que les rΓͺves sont de vraies expΓ©riences
00:22:31qu'on a pendant le sommeil,
00:22:33ce qui a Γ©tΓ© un long dΓ©bat chez des philosophes,
00:22:35savoir est-ce que des rΓͺves se passent
00:22:38effectivement pendant qu'on est en train de dormir,
00:22:40ou est-ce que c'est une illusion du moment oΓΉ on se rΓ©veille,
00:22:44par exemple,
00:22:44est-ce qu'en fait on ne rΓͺve pas pendant la nuit ?
00:22:51On sait que ce n'est pas le cas.
00:22:52On rΓͺve effectivement pendant qu'on dort,
00:22:54on a ces expΓ©riences pendant qu'on dort,
00:22:57et on les a en temps rΓ©el, en couleurs, en sons.
00:23:01C'est une vraie simulation d'un vrai monde
00:23:03qui se passe pendant qu'on dort.
00:23:06Ce qui est particulier, c'est que notre cerveau, notre esprit,
00:23:09a très peu d'informations qui viennent du monde extérieur.
00:23:12Donc c'est un monde qui est purement formΓ© de l'intΓ©rieur.
00:23:14C'est un monde qui est formΓ© par nos souvenirs,
00:23:17nos systèmes cérébraux qui nous permettent de créer
00:23:20la perception qu'on a aussi Γ l'Γ©veil.
00:23:22Ce sont les mΓͺmes circuits qui vont Γͺtre activΓ©s pendant qu'on dort.
00:23:26Parfait, je vais faire des petits ajustements techniques pour rΓ©gler...
00:23:30Ce que je veux dire par lΓ , c'est qu'on rΓͺve avec le bagage
00:23:32qu'on a acquis pendant notre vie.
00:23:36Les objets qui peuplent nos rΓͺves sont les objets de notre expΓ©rience
00:23:41de tous les jours.
00:23:43Si on rΓͺve d'oiseaux, c'est qu'on a vu des oiseaux.
00:23:46Maintenant, ils ne sont peut-Γͺtre pas la bonne taille,
00:23:48ils ne sont pas au bon endroit,
00:23:50mais les Γ©lΓ©ments de base, ce vocabulaire de base,
00:23:53la perception, enfin, aux dΓ©rives de notre expΓ©rience quotidienne.
00:23:59Il y a des choses qui deviennent imaginables seulement dans les rΓͺves.
00:24:23...
00:24:31...
00:24:49Ocureceram somnia, et noxium phantasmata, so they pray that far away should remain dreams.
00:25:01They don't say insomnia, they say somnia, that should remain very far away, the dreams
00:25:07and the phantasmata of the night.
00:25:10So here you have paintings full of all that, but the monks pray that in the night they don't
00:25:17have to see all this, so there's something very forbidding in all that.
00:25:23When I think of the monks praying that they shall not have to see it, how did they look
00:25:30at it?
00:25:30A good question, because these paintings weren't made for monks.
00:25:36Osh shows something that is real and that is actual, and that he criticizes also in the
00:25:44courtly life.
00:25:45And all the sins are there.
00:25:47All the sins are there.
00:26:16All the sins are there.
00:26:17Are there any more people moving on?
00:26:34of being inanimated.
00:26:40I see here concomitances with the comic,
00:26:43that's why, because it's a very drawn picture,
00:26:45because it has narrative.
00:26:49Bosco worked for the role,
00:26:51so I know how to replace the client
00:26:55without letting him be himself,
00:26:58and, if you can,
00:26:59putting your own concerns into the work.
00:27:04I think that Bosco was amazing.
00:27:12It has a technique
00:27:15of very thin edges,
00:27:17full of techniques
00:27:18and minimal scissors.
00:27:22There are things
00:27:23that you see,
00:27:24that you see,
00:27:24and then, that you paint with lupa.
00:27:29The terminations,
00:27:30for example,
00:27:32here, the color of this pastor
00:27:35is made with rayons
00:27:38and here,
00:27:40these eyes, so expressive,
00:27:42are made with a detail
00:27:45that you need lupa
00:27:47and a pencil,
00:27:48of course,
00:27:50super fine
00:27:51and a precision
00:27:52in the drawing.
00:27:55It's huge.
00:27:59The color layers
00:28:01are made
00:28:02by mixing the pigments
00:28:05with olive oil,
00:28:07with olive oil,
00:28:09with olive oil,
00:28:09with olive oil.
00:28:10There are many materials.
00:28:11and those recipes
00:28:14are not known.
00:28:16They have lost.
00:28:17They are lost.
00:28:18It were their secret.
00:28:19They are...
00:28:20It was that
00:28:21the village of Bosco
00:28:23were all painters.
00:28:25Yes, their father,
00:28:26their granddad...
00:28:27And they were transmitted
00:28:29in the kitchen
00:28:30to make their colors.
00:28:34The secrets of the family.
00:28:35Oh, yes.
00:28:41Let's start, by God.
00:28:51When you look, let's see if we are in trouble.
00:28:56Well, we can see.
00:28:59Thanks to the infrared, we can see the subyacent drawing
00:29:03and the radiography allows us to see all the phases of painting.
00:29:09The surface of the picture allows us to prove
00:29:13what changes have been done,
00:29:15even those that have been done in the last moment in the surface.
00:29:19It goes a little further, more deep than the visible.
00:29:23And it is especially effective to see the subyacent drawing,
00:29:27especially if the flamencos,
00:29:29about a white preparation,
00:29:31painting in black,
00:29:34which is precisely what Bosco does.
00:29:38Was he thinking about the kind of painting that we see now,
00:29:44or did he think of the concept in an entirely different fashion?
00:29:48And all these things we don't know.
00:29:50It's like an archaeology.
00:29:51We do like an archaeology of the image.
00:29:54But the interesting change that occurs here
00:29:57is in the type of face of the creator
00:30:00and in the direction where he's looking at.
00:30:04The creator is not now the man with the long beard,
00:30:09which many people associate with God the Father.
00:30:13But he has given the creator the shape of Christ, the Son.
00:30:20And since Adam and Eve were created in the image of God,
00:30:24I think that Bosch wanted to emphasize their identity
00:30:29as being created in the image and likeness of God.
00:30:34And in order to show that,
00:30:35he would need to present God
00:30:37with an image that is very similar to the human face.
00:30:43The creator was looking in the direction of Adam.
00:30:46Now, as many people have observed,
00:30:50the creator is looking at the viewer.
00:30:52He really pierces at you
00:30:54as if to involve the viewer in the creation scene.
00:31:04When you look at those eyes,
00:31:07they're talking to me when I make a portrait
00:31:09I like to look at the camera, you know?
00:31:11Because what they see is their eyes.
00:31:15And they never lie.
00:31:33My relationship with the garden
00:31:35was much before I was in the museum.
00:31:38Of course, when I came and I was younger.
00:31:43Well, I was younger, of course,
00:31:45in the prehistoric history.
00:31:47And the vigilante
00:31:49was always opening and closing the doors.
00:31:52So that was an experience that I had to have seen.
00:32:04When I was working directly on Bosco and his work,
00:32:09one of the things that I liked most,
00:32:11is the creative process,
00:32:13how it works from the bottom,
00:32:14from the original drawing to the surface.
00:32:19Look at those lines in parallel,
00:32:22that are made in the model,
00:32:23in the adjacent drawing,
00:32:24like if Carmine had given it.
00:32:27He uses very thin pencils
00:32:29and has a tint.
00:32:31All these little dolls,
00:32:33are made, most of them, with realce.
00:32:36And sometimes,
00:32:38when it goes back in realce,
00:32:40it doesn't matter.
00:32:41But to do those things,
00:32:43he probably had to put the picture on the horizontal
00:32:46and do it like this,
00:32:47because if not,
00:32:49could be a little bit of the tint,
00:32:51as much as it was.
00:32:53Because there are times,
00:32:55with the drawing,
00:32:55it says, with the left hand,
00:32:57with the right hand,
00:32:58with the right hand,
00:33:01and the right hand,
00:33:02but it really is that
00:33:03he can move the picture,
00:33:05can put it on the right,
00:33:06on the reverse,
00:33:07can use, for example,
00:33:09I am not a zurd,
00:33:10but I can make traces
00:33:12as if I were zurd,
00:33:13but never with contours,
00:33:15maybe,
00:33:15but yes,
00:33:16traces of the model.
00:33:18So,
00:33:19what he always does,
00:33:22is always bordering
00:33:25the contours,
00:33:26whether in light or in somber,
00:33:28with an adequate tone,
00:33:30for example,
00:33:32this one is in light,
00:33:33and it is bordering
00:33:34with a white tone,
00:33:36but here,
00:33:36he doesn't want it to be on the light,
00:33:38because the light comes from the left,
00:33:40and then it is bordering
00:33:41with the same tone
00:33:42of the mantel,
00:33:45and this one doesn't usually do
00:33:46at times,
00:33:47these are things
00:33:48that are completely new,
00:33:51because he is drawing
00:33:52like a painter
00:33:52and painting like a painter.
00:34:19The painter,
00:34:20it is the one who gives
00:34:20to see what invisible is.
00:34:24Bosch is doing
00:34:25with the painting,
00:34:27but at the same time
00:34:28he adds up
00:34:28his imagination.
00:34:30Here,
00:34:31everything is possible.
00:34:38You know,
00:34:38there are a lot of birds
00:34:39that look like a painter
00:34:40like a painter.
00:34:42You know,
00:34:42I look at it
00:34:42he's drawing this.
00:34:46I've seen it
00:34:47with my painting
00:34:48there are a lot of things
00:34:49that are related.
00:34:51Like this,
00:34:52there are a lot of animals
00:34:53that are drinking water.
00:34:54I have a painting calledιΊη£
00:34:56the bird.
00:34:57the bird,
00:34:57the bird,
00:35:00the spider,
00:35:01the bird,
00:35:02the worm
00:35:02and the dog.
00:35:03Everyone is together
00:35:04to give us an awesome water.
00:35:06These are the last
00:35:22It's a long story, just like theζΈ
ζδΈζ²³εΎ.
00:35:26It's a long story, it's a long story,
00:35:30and it's time and space.
00:35:31The entire ChineseζΈ
ζδΈζ²³εΎ
00:35:37is a long story,
00:35:39and it's time and space.
00:35:41So it's a beautiful story.
00:35:52It's a long story,
00:35:54it's a long story,
00:35:56it's a long story,
00:35:59it's a long story,
00:36:00it's a long story,
00:36:00it's a long story,
00:36:01it's a long story.
00:36:04We're going to see
00:36:08something different in these stories,
00:36:10but it tells a lot of stories
00:36:12and plays with us,
00:36:13plays with the observer.
00:36:15I love this too, this image of the people,
00:36:18almost the idea of whispering of secrets
00:36:22and one imagines untruths.
00:36:26But it looks conspiratorial.
00:36:28It doesn't look like an innocent conversation.
00:36:31They are forms of conversation
00:36:33that actually mirror what we,
00:36:36and they as an audience,
00:36:37were doing standing in front of the painting.
00:36:40Those people had read
00:36:41the Roman de la Rose.
00:36:43Yes.
00:36:44They had read many other Dutch language fables
00:36:48and symbolic tales.
00:36:51They were probably,
00:36:52which I would never do,
00:36:54but they would probably point to things
00:36:56and touch things and say
00:36:58this and that,
00:36:59and I think this and this.
00:37:22What we know is that the painting was seen
00:37:25in the palace of the Count Henry III of Nassau,
00:37:29who belonged to the highest nobility of the Burgundian court.
00:37:43It is most likely that it was Engelbrecht of Nassau,
00:37:48who gave the commission for the painting.
00:37:50And he had to take care of both his nephew,
00:37:55Henry III,
00:37:57and Philippe de Verre.
00:38:00I think that he commissioned
00:38:02the Garden of Earthly Delights
00:38:04for their entertainment and education.
00:38:08Because they were used to have discussion together.
00:38:13That was the fun.
00:38:14The fun thing is men and women
00:38:17having discussions together
00:38:19about important topics,
00:38:22like what is natural behaviour?
00:38:26What is courtly behaviour?
00:38:28What is a sin?
00:38:29Is it sinful to listen to nature
00:38:32or is it not?
00:38:35In a sense, it's also like a mirror,
00:38:39giving thought for speculation.
00:38:54Fifty years after Bosch dies,
00:38:57the Duke of Alba comes to the Netherlands
00:38:59in order to suppress the revolution of the Protestants.
00:39:03And one of the first things he does
00:39:04is he goes after the painting.
00:39:06He confiscates the possessions of William of Orange,
00:39:08who got the painting through heritage.
00:39:13William of Orange
00:39:14is a very important character
00:39:16within the court of Carlos V.
00:39:18When Carlos V,
00:39:20who came out of Santa GΓ³dula in Brussels
00:39:21after he was elected,
00:39:24he was supported by a man of Felipe
00:39:25and the other man of Guillermo de Orange.
00:39:27He was very close, very close to them.
00:39:31But when he lifted up,
00:39:32he lifted up against Felipe
00:39:34and, of course,
00:39:34he abandoned Brussels.
00:39:36William of Orange
00:39:37which fleece the country
00:39:38and Alba immediately confiscates the painting.
00:39:42When he came,
00:39:43the painting was gone.
00:39:44They have been hiding it.
00:39:46But Alba really wanted to have this painting.
00:39:48It was very important for him.
00:39:50So he moved heaven and earth.
00:39:51He even tortured the custodian of the palace.
00:39:56He took his fingers,
00:39:59he took his fingers,
00:39:59he took his fingers,
00:39:59he took his fingers,
00:40:00he took his fingers,
00:40:00he did everything
00:40:01until he sang and said
00:40:02where he was in the garden.
00:40:04He was very close.
00:40:15He was big,
00:40:15this is a dream,
00:40:33he held his fingers,
00:40:33he took his fingers,
00:40:33he was a little.
00:40:33In 1591, Felipe II bought it, but not because it was destined to the Escorial as one of the religious
00:40:43paintings,
00:40:43but to the space destined to the rooms of the monarca and his family.
00:41:21I'm a bit skeptical about that interpretation, I must say.
00:41:25I think he really enjoyed the detail of the painting, really enjoyed looking at it.
00:41:30One has to remember, he's also the king who commissions Titian to paint the nudes out of Ovid for his
00:41:37bedroom.
00:41:38So he was the ascetic king we associate with the Escorial, but he didn't mind looking at oval flesh.
00:42:02Felipe II was a man who believed that his steps on the earth, his facts, would be judged by God.
00:42:10He was convinced of this.
00:42:12Therefore, he was surrounded by things that could inspire his religious concepts, the moral concepts of his life.
00:42:25The Jardin de las Delicias, which is functional, is made for some concrete things.
00:42:31It was in perfect harmony with the moral of Felipe II.
00:42:43Felipe II was a great renacentist prince, I.
00:42:48And a stateist, one of the most important ones we've had.
00:42:53And an intelligent and cult man.
00:42:55So, I understand his fascination with the work of the Bosco,
00:43:00like the fascination of a person who knows that the appearance and what they tell them is not enough.
00:43:30There is a legend that Philip II, when he was dying, here in the New York City,
00:43:38in the Escorial, he had an image, a painting by Bosch, brought to his deathbed.
00:43:46And we know from certain letters that he advises his children to carefully look at the paintings by Bosch.
00:43:54It seems to suggest that, for Philip II, paintings by Thomas Bosch contain some form of wisdom
00:44:02that he can learn from even on his deathbed.
00:44:08And we know him, after Thomas Bosch and there were very different theories
00:44:23These ideas are more important and important and important and important and important and important.
00:44:25These ideas are all for the art of a place.
00:44:26But we know when he has the beginning of the art of a place,
00:44:27but we can read these ideas in the art of a place.
00:44:27It is the writing of a place of science.
00:44:31This is also the writing of a place called the Second Life that is in the art of La Square.
00:44:36Royal, who wrote on this painting and the king's love for Jonas Bosch called this painting,
00:44:45because of this detail, the Madronio painting.
00:44:51I think the first historical mention of the painting is the painting of the world's variety.
00:44:58I think it's very successful because it's actually almost enciclopedic.
00:45:04The title has always struck me as very deeply ironic to say that this is a garden of earthly delight.
00:45:10The garden of delights, yes. Garden of earthly delights, no.
00:45:14It's a really good title. I mean, that's why it's lasted so long.
00:45:18And we don't know what the title was, do we, I think?
00:45:23It was called Primero Variedad del Mundo.
00:45:25So it's also the father SegΓΌenza, who encouraged Felipe II to achieve it because he affirmed that he was not
00:45:38heretic.
00:45:39It's also called The Quadro of the Freshs, because the freshs,
00:45:44as well as a symbol of special delicacies, it's ephemeral.
00:45:50Then the red fruits that appear, then they consume.
00:45:56And it's an allegory that the pleasures are also ephemeral in our own life.
00:46:30The Quadro of the Freshs
00:46:33that said it's a place of peace and meditation and reflection or it's a
00:46:38place of extreme violence and surrealism and you know death and bizarre
00:46:47metamorphosis and so on and so on and that is in his mind well I put it in his
00:46:53mind because that's my idea of Bosch but I just think this is a painting like
00:46:58nothing else in the history of art
00:47:06when the angels changed a shape into monsters they still have wings dark
00:47:14wings like bats yeah it's really a beautiful miniature in there so there's
00:47:19in this whole understanding of evil being in the world not only by disobedience
00:47:28but in order to be equal to God as a consequence the bad angels the wicked
00:47:33angels the disobedient angels are being driven out of heaven so they lose the
00:47:38likeness in which they were created by God
00:47:53the story has been represented by Bosch in the hay wing triptych but it's only
00:47:57alluded to on the exterior of the carnivorety lights by this play of dark and
00:48:03white clouds very dramatic play of dark white clouds
00:48:07the
00:48:08the
00:48:09the
00:48:09the
00:48:34ORGAN PLAYS
00:48:48God spoke, and it was created, and it stood fast, and it stood.
00:48:54What we see is one huge contradiction of that sentence.
00:49:00Nothing stands as it is.
00:49:28We know that using a coil, a fake owl, birds would come, fascinated by the owl, and they
00:49:35would be stuck on the branches, and then you could take the birds from the tree.
00:49:41So this phenomenon, which actually exists in reality, in nature, was seen as a metaphor
00:49:48for the devil who is able to tempt and attract birds, which at the time were clearly associated
00:49:56with human souls.
00:50:09It's very interesting how the drama is going to be developed.
00:50:12These black figures that come out of the water, these monsters, that start to indicate that
00:50:19the germen of the evil is from the own paradise, and they come out of the purifier and purifier
00:50:26of life, which is the water.
00:50:29It seems like the evolution of the species.
00:50:32It could be a Darwinist reading of the picture.
00:50:36It goes from the mineral, the joy of the world, almost inorganic, to this kind of first batracios,
00:50:45and sapos, and salamandras, and it begins to have three heads, it begins to have caprazΓ³n,
00:50:50huesos externos, and, well, it's a metamorphosis.
00:50:59When they represent the creation, they represent two moments.
00:51:04One, the creation of Eve from the rip of Adam in the Garden of Eden.
00:51:10And the second moment is when God, the creator, brings Eve to Adam, bringing together is understood
00:51:17as what was called the institution of marriage.
00:51:23Bosch has changed something.
00:51:26It is not the marriage that he is depicting, nor is it the creation of Eve from the rip of
00:51:32Adam.
00:51:34The Bible says that God put Adam to sleep.
00:51:40And in this dream, he foresaw the redemption of mankind on the cross,
00:51:47where Christ, who is called the new Adam, the new man,
00:51:55redeems the sins of the old Adam.
00:52:11And then it is striking to see how Bosch depicts creator with the face of Christ,
00:52:19and Eve in a fashion as if they are marrying.
00:52:25Who is the new Eve? That is the church.
00:52:30If this interpretation is correct, Adam is actually dreaming.
00:52:36Adam is having a vision. Adam has a dream vision.
00:52:41And also some practices.
00:52:48After all, he drawn the works of the creation of humanity and evidently
00:53:08that he composed of the creatures of TJ like that,
00:53:10and that represents the expulsions of Adam and Eva from the ParaΓso.
00:53:18I have taken a part of the left side of the three tables,
00:53:25which is a critic.
00:53:39They are allowed to have sex and reproduce,
00:53:43so it is not the sexual sexual relationship,
00:53:47it is the desire,
00:53:50represented in the fruits in the picture.
00:53:55They seem to be taking the SD with these red pastillas,
00:53:58which is like the ticket for the infierno.
00:54:13So, God sends them out after the fall into the world
00:54:18to procreate and to govern the world.
00:54:22Well, actually, in the central panel even,
00:54:25you start to see that the world is governing man,
00:54:28not man is governing the world.
00:54:34Everybody is in that kind of state of nature,
00:54:36you know, but what is happening in the state of nature is madness.
00:54:45For children, the red color,
00:54:48it seems to have a flavor in the picture too.
00:54:52This invites you to come in and enjoy,
00:54:55and to participate, that's for certain, yes.
00:54:58It's as if they had thrown feromonas in a whale.
00:55:36But formats are only possible.
00:55:36and taken over 10.
00:55:49Perhaps the sky is the earth, it's the center. That's the question we ask.
00:55:55For a profan spectator, the sky is in the center.
00:56:01It's not the paradise created by God, but it also has to do with the image of a place where
00:56:09you don't have to work, where sex can be done in any way.
00:56:15They are bathing, they are enjoying, but at the same time there is a constant impression of danger, of pain,
00:56:24of pain.
00:56:28They don't seem to be having a particularly great time. And yes, there is a lot of eroticism, but it's
00:56:33very cold, the eroticism, somehow.
00:56:35It's not a sexy picture, it's sort of acted and somewhat forced in some cases.
00:56:42Esencialmente, el mayor pecado terrible todavΓa era la lujuria. La lujuria como el pecado mΓ‘s terrible que promovΓa todo, exactamente
00:56:52como sucede aquΓ.
00:56:53AquΓ la lujuria es un elemento importante, parece que es el centro esencial.
00:56:59I think one of my favorite parts of this painting is the two figures who are making love inside a
00:57:05mussel shell.
00:57:06And, you know, you just think, what is going on there? Why are they doing that?
00:57:10But it's one of those images that remains with you, and you always think about this as this totally surreal,
00:57:16insane...
00:57:17One striking thing is this arm. This arm is reaching out for a fish that, according to many art historians,
00:57:25is a symbol of lust, actually of the male sexual organ.
00:57:30The position of the hand and the two balls tell you something about what is going on inside this cup.
00:57:42They are enjoying it.
00:57:44They don't seem to be hurting anyone.
00:57:47Suddenly they are known, they share fruit, they play, well, they kiss.
00:57:53I'm fascinated by the degree of realism at certain points.
00:57:57I mean, if you look at the two Africans, for instance, he's quite clearly seen Africans, probably in Antwerp or
00:58:03in the Netherlands, who are slaves, there's a slave market.
00:58:06As he has the birds, there are like eight or ten birds that you can identify as a biologist.
00:58:13Are these birds good things? Are they scary? I mean, I personally would be quite scared by a giant kingfisher,
00:58:20but it's, you know, no one in the painting seems that bothered by them.
00:58:23It's this sort of strange, upside-down world.
00:58:27We can see that the animals, animals, minerals, vegetables, all of this work in good intelligence.
00:58:35And that it works differently than in the terrestrial order,
00:58:40that the papillons are sometimes more gros than men, that the men are sometimes more petits than the animals.
00:58:45It's a different world and multiple world, but at the same time, the truth of Christianity is found.
00:58:51But you don't have to wait for the truth of Christianity of a curator.
00:58:53It's the truth of Christianity of an artist.
00:59:02Originally, this fountain was a round shape.
00:59:09It's almost like a bowl, leaf-like.
00:59:13It seems to have some leaf-like structure.
00:59:17But here you clearly see an egg form.
00:59:22If we look at the triptych in Lisbon, showing the temptations of St. Anthony, we see a pattern, and we
00:59:30see a frog standing on the pattern.
00:59:32And the frog holds actually an egg on top of his head.
00:59:37If you zoom out from this, you would see in the central panel, Christ standing next to the altar with
00:59:45the crucifix on it,
00:59:46to emphasize that that is the real altar.
00:59:48And then in the foreground, you see a mock, a parody of the Eucharist.
00:59:54If eggs come with the association of parody of the host in a triptych,
01:00:01then he runs here the risk that the entire triptych is being seen as an awful parody on the use
01:00:11of altar pieces in Eucharistic context.
01:00:15So for a painter who complies entirely with traditional religious convictions,
01:00:20it would have been extremely problematic, not to use other words,
01:00:26to create a triptych that could be seen as a parody on that very Eucharistic ritual.
01:00:32That is impossible.
01:00:33So we have on the one hand a religiously very traditional painter,
01:00:38who on the other hand artistically is a fantastic innovator.
01:00:51There is a wonderful future element in the painting,
01:00:55some constructions that seem like GaudΓ.
01:01:00They seem like the rest of the kangaroo.
01:01:05It's a mix of animals and actual bombs.
01:01:09It's really the vision of an artist who is capable of, in some way,
01:01:16to present a much more cruel future than what the coetanians could imagine.
01:01:26You know, today we would, this is, these look like factories, you know,
01:01:30it does remind me of sort of a children's fantasy of a candy factory.
01:01:48In the land of gods and monsters, I was an angel, living in the garden of evil, screwed up scared,
01:02:03doing anything to do.
01:02:04That I needed.
01:02:08Shining like a fiery beacon, you've got that medicine I need.
01:02:17Fame, liquor, love, give it to me slowly.
01:02:22Put your hands on my waist, do it softly.
01:02:26Me and God, we don't get along, so now I see.
01:02:32No one's gonna take my soul away.
01:02:38I'm living like Tim Morrison.
01:02:43Heading towards a fucked up holiday.
01:02:48More dance, breeze, breeze, and I'm singing.
01:02:53Fuck yeah, give it to me, this is heaven.
01:02:57What I truly want is innocence lost.
01:03:07Innocence lost.
01:03:19I see the fascination with which they look and laugh.
01:03:23Like the indifference that causes the paradise and the fascination that causes the hell.
01:03:29Innocence lost.
01:03:32Innocence, the hell is more like the idea of having to go well today.
01:03:37That pure nature, intact, where the water flows.
01:03:42while here there are animals that are turned into perverse monsters.
01:03:47Look, there's a cat who is making a tremendous hurt
01:03:50with that tail to that poor man who has his head down.
01:03:54So, the animals themselves also add to the demons
01:03:57to torture this poor man who was eating fruit.
01:04:05Most of this is chaos and painful and scary
01:04:11and incredibly contemporary.
01:04:14The great thing about this painting is that
01:04:15it doesn't look at all like an old picture.
01:04:21How do you get out of there?
01:04:23That's why Dante made the map of the hell.
01:04:29To be able to get out of hell.
01:04:53There are intervals
01:04:55that are pure intervals.
01:04:59However,
01:05:01that is one of the intervals
01:05:04that are found in the picture.
01:05:07At the time, it was simply called
01:05:08Diabolus in Musica,
01:05:10the Diablo in Musica represented
01:05:11in a prohibited interval.
01:05:13That's why it's important to know
01:05:15that that was probably planned by a musician.
01:05:20I can read it.
01:05:21Da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da
01:05:27-da-da-da-da.
01:05:28Yeah, it's very legible.
01:05:30After 500 years, it's incredible.
01:05:39The instruments that appear in the picture are still existing today.
01:05:46They are not so far from the shape nor the use,
01:05:51because many of them are popular.
01:05:55The gaita, that stomach, is about to be cut
01:06:00with a knife that comes out of an ear,
01:06:03and it looks like a table.
01:06:06The type of gaita is the same,
01:06:09the gaita that has a soplet, a punter
01:06:12and a more or less long cord.
01:06:18There is a chirimia.
01:06:20The chirimias have stopped using,
01:06:22but still have the dulzainas,
01:06:24and the form of the dulzainas is also classic.
01:06:26Tanto where the caΓ±a is placed,
01:06:29which is where the tudel is,
01:06:31as well as the campana.
01:06:38The zanfona has a manivela
01:06:41that moves an edge that travels all the instruments.
01:06:46The bosco puts a person
01:06:48taking charge of that manivela.
01:06:51It has to move constantly
01:06:53to produce the sound.
01:06:55Another thing that calls my attention
01:06:57is a container where it could have
01:07:00fat to get fat
01:07:02to get fat in the edge,
01:07:04because if not, the zanfona sounds bad.
01:07:19Some of these images, like this huge salamander,
01:07:23with enormous belly,
01:07:26is painted in exceptional detail,
01:07:29and then still changed.
01:07:32It was finished.
01:07:33It was finished, even.
01:07:35And inside his belly we find
01:07:38at least one human being.
01:07:42Possibly, is this an arm of another?
01:07:44I don't know.
01:07:45And I'm saying this, of course,
01:07:47based on the image that you find in the central panel.
01:07:50And a book.
01:07:51And a book.
01:07:52And a book.
01:07:53And a book.
01:07:55And a book.
01:07:55So why did he change it?
01:08:09So, let's come back and listen to it.
01:08:10Next, the house will be fixed.
01:08:10But, wait a minute.
01:08:11And then, there's the new house.
01:08:11And the new house will be fixed.
01:08:12And then the top will be fixed.
01:08:13And there's the new house.
01:08:14So, let's move on.
01:08:15So, let's do this now.
01:08:15And you have to move on,
01:08:25So, let's look at that.
01:08:34The fact that you can clean the narration to the work is transformed into a protagonist.
01:08:42When you remove the narration, you leave the architecture, the stage.
01:08:46So on that stage, first, there are artists that 200, 500 or 300 years later,
01:08:53somehow they can find themselves.
01:09:10The followers of Bosch were inspired not only by the way he drew devils and demons,
01:09:18but they were also inspired by the way how he suggests chromorphic shapes in the landscape.
01:09:25And Salvador Dali picked out the most obvious example in the Garden of First Little Lights,
01:09:31this face with the nose and the mouth and a kind of a sleepy eye.
01:09:42Not only do the animals draw its features in the rock, they draw the features in my mind.
01:09:51So I am infected by the same dark power by seeing this.
01:10:00This interaction between viewer and image is something that we cannot escape.
01:10:11These are all portraits.
01:10:16They have modified everything. They have put a collar, they have tattooed the eye.
01:10:22The eye.
01:10:25I was looking for metamorphosis.
01:10:29I was looking for metamorphosis.
01:10:30And I found myself with these practices that for us are so unknown,
01:10:33that are so unknown and that are so connected to that part of Bosch.
01:10:35And that relationship that comes from our culture with mysticism, with pain, with pleasure.
01:10:45I have been calling it the hell of Bosch.
01:10:48But on the other hand, as for me, it is not a hell.
01:10:52It is still in the limbo.
01:10:56****
01:10:57****
01:11:14That is how our Lord is Holy-K vontade
01:11:23Your name, your kingdom come, your will come, your will come,
01:11:49with love, as in heaven.
01:11:55So far the firstcomplish need us,
01:12:04our daily bread give us today.
01:12:21And forgive us our sins, as we are here to live.
01:12:34Amen.
01:13:04Amen.
01:13:39Where is my likeness?
01:13:41Is my image and likeness more like the Creator?
01:13:45Or is my image and likeness more like the tree man?
01:13:50They offer two perspectives.
01:13:52They also position me in the triangle of the lines of vision where they meet.
01:14:03You know, you're not allowed to have a favorite figure, but he is my favorite figure.
01:14:10The way he looks with a lot of world-weariness, knowing what he has on his back and on his
01:14:18head.
01:14:19The pain in the mind, the dream, the oniric.
01:14:22The oniric is not innocent.
01:14:24The life is not innocent.
01:14:26The creation is not innocent.
01:14:29So, there is panic, the terror, but, above all, what is on the surface,
01:14:36what is not seen.
01:14:39It is seen a lot, but there is a lot more to see who is not placed.
01:14:42How many of us accept this?
01:14:49Where is one cat here?
01:14:51There is another cat here.
01:14:54Another catβ¦
01:14:55Where is he?
01:14:58Where is he?
01:14:59There's another cat.
01:15:03Where is another catβ¦
01:15:05Where is my cat?
01:15:06In the Frandux?
01:15:09So, yes, yes, that's great.
01:15:12This one looks like Totoro.
01:15:14It's like Totoro from Japanese drawings.
01:15:16I think it comes from here.
01:15:19But yes, yes.
01:15:21But the look of the cat,
01:15:23which is this look between indiferent and malignant.
01:15:29The cat's eye is very noticeable,
01:15:33because it has a kind of light in the eyes.
01:15:35In addition, it's a cat touching the cord
01:15:39and with a very similar tool
01:15:41that I use for my ceramic oven.
01:15:47That painting has been standing there,
01:15:50or hanging there,
01:15:51all these years emanating its force,
01:15:56its soul,
01:15:58or whatever you would call it.
01:15:59People before the French Revolution
01:16:01after the French Revolution.
01:16:03People before Marxism
01:16:05after and people before Auschwitz
01:16:08and after Auschwitz.
01:16:09Which means that the painting
01:16:11has all the time remained
01:16:14the same material object,
01:16:16consisting of wood and paint,
01:16:19but that the eyes belonged to heads
01:16:23of which the minds had completely changed.
01:16:32Bosch is very influential for several generations,
01:16:37and then hugely successful with viewers
01:16:39throughout history up until today.
01:16:41This is a very busy room in this museum.
01:16:44But after about 1570 or so,
01:16:46you don't find anymore artists
01:16:48who are painting Bosch-like paintings.
01:16:52Slowly, as the new scientific attitudes emerge
01:16:55in the world,
01:16:56the world view of Bosch is losing ground,
01:16:59I would say, already in Patiniti
01:17:01find that the realistic impulse
01:17:03is more present here,
01:17:05and that's why such a great focus on landscape
01:17:07than in Bosch, where it's all fantasy.
01:17:14If he is staring at you,
01:17:16you are his next soul.
01:17:18You are his next passenger.
01:17:21And you can decide
01:17:23whether you want to go to hell
01:17:25or whether you want to go to heaven.
01:17:28You have to understand the metaphor,
01:17:31the biblical metaphor,
01:17:32of the broad way and the narrow way,
01:17:35the narrow gate that leads you to paradise,
01:17:38but the broad road that leads you to perdition.
01:17:41And that is, in essence,
01:17:42what Bosch also teaches us.
01:17:46Don't simply trust the outward appearance of things.
01:17:49Try to see through things.
01:18:06Um, no I, I, I, I, I, no
01:18:38I did it very big, area by area,
01:18:44and I did it very well,
01:18:48and I did it very well,
01:18:51and I did it very well.
01:19:14If you're going to destroy a lot of works,
01:19:16you'll have to destroy a lot of them,
01:19:17but you're not going to destroy them.
01:19:25Part of the pleasure is exactly not being able to decipher
01:19:28what's going on necessarily,
01:19:29and I think a lot of it remains very memorable
01:19:32even though you have no idea what it's about.
01:19:35So you have this urge to complete the story.
01:19:38So yes, one could write,
01:19:39and I'm sure people have.
01:19:40You could write a novel about this painting,
01:19:43you know, very easily,
01:19:44and a novel with a thousand stories.
01:19:46It's like if we wanted to say
01:19:48that its works are like books.
01:19:51This could be a fantastic opera.
01:19:53Counterpoint.
01:19:54Pour l'Effernet.
01:19:55There's a dance.
01:19:57There's a huge dance.
01:20:00I think it's a huge theater.
01:20:02Here are the passions of men,
01:20:06the desires, the fantasies.
01:20:08I look at it very pictorially.
01:20:10I say to myself,
01:20:12why is this so moving?
01:20:14And the answer to me is because it works.
01:20:17Maybe it would be the equivalent
01:20:18to something like
01:20:20the Divine Comedy of Dante
01:20:21or the Human Comedy of Balzac.
01:20:23It's an encyclopedic painting,
01:20:26and it's also extremely poetic.
01:20:28It's talking about freedom,
01:20:30for me,
01:20:30because there's a bird
01:20:32and it's leaving it free.
01:20:34I've never been very much
01:20:35in interpretations.
01:20:36I like it a lot more,
01:20:38in the literature,
01:20:38in the interpretations,
01:20:39there are so many
01:20:40that it's almost different.
01:20:43You're wrong.
01:20:44It looks like a beautiful melody,
01:20:45but...
01:20:46Then...
01:20:48Then...
01:20:49Then...
01:20:49Then...
01:20:49To clarify,
01:20:51to say what this means,
01:20:54you have to invent words.
01:20:56Huh.
01:21:04That's what I mean by different eyes.
01:21:07You know?
01:21:08Because what most people see
01:21:09is themselves.
01:21:24If we realize that the painting
01:21:28is a mirror image of us
01:21:30standing in front of the painting,
01:21:33immediately when we look at the interior,
01:21:36we start dreaming.
01:21:49That is a phenomenal invention of Bosch,
01:21:52to create this kind of machine,
01:21:54this active machina,
01:21:55to fire the imagination of the viewer,
01:21:58and to push the impulse of interpretation,
01:22:02without ever giving us a clue
01:22:07except for the face of Christ.
01:22:19He looks at me.
01:22:27And to the devil.
01:22:29So...
01:22:32you can see that,
01:22:40this is critical.
01:22:40It is a challenge.
01:22:41It's a challenge,
01:22:41This is a challenge.
01:22:41Oh,
01:22:41it's a challenge...
01:22:42This is a challenge.
01:22:45I love your energy.
01:22:47and this is not true.
01:23:12VIOLIN PLAYS
01:23:22The painting wants to involve the viewer, it wants to be understood, but it does not want to be solved
01:23:31entirely.
01:23:37The author does not want you to solve the mystery. He wants you to remain in the mystery.
01:24:10VIOLIN PLAYS
01:24:29VIOLIN PLAYS
01:24:56VIOLIN PLAYS
01:25:26VIOLIN PLAYS
01:25:50VIOLIN PLAYS
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