1530-1540

The Last Judgment

Follower of Jheronimus Bosch

Bosch Project

The Last Judgment

techniek: Oil on Oak, 59.6 x 113 cm
locatie: Alte Pinakothek, Munich
accession number: 5752; BRCP Cat. 30 (pp. 450–455)

The works currently known as the Flood panels were originally the wings of a triptych, the central panel of which has been lost.
Brightly colored monsters swarm against a dark background. The dead are rising from their graves, and some of them are dragged off or even devoured by devilish creatures - the Last Judgment is in full swing.
The monsters and creatures, although inspired by Bosch, are clearly different from those he painted. It is therefore unsurprising that since the painting was exhibited at the 1967 Hieronymus Bosch exhibition at the Noordbrabants Museum in 's-Hertogenbosch, people have come to agree that it is neither a Bosch fragment nor an accurate copy of one of his originals. Nevertheless, it is a fascinating work based on Hieronymus Bosch’s visual language and demonstrates the artist’s great popularity during the sixteenth century. The painting is quite large, even though it was cropped considerably on the left and at the top.
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Literatuur en bronnenpublicaties

Matthijs Ilsink, Jos Koldeweij, Ron Spronk, Luuk Hoogstede, Robert G. Erdmann, Rik Klein Gotink, Hanneke Nap and Daan Veldhuizen, Hieronymus Bosch, Painter and Draughtsman. Catalogue Raisonné, Brussels 2016, pp. 450-455.

Luuk Hoogstede, Ron Spronk, Robert G. Erdmann, Rik Klein Gotink, Matthijs Ilsink, Jos Koldeweij, Hanneke Nap and Daan Veldhuizen, Hieronymus Bosch, Painter and Draughtsman. Technical Studies, Brussels 2016, pp. 404-411.

Alte Pinakothek München, München 1986 (cat. München, Alte Pinakothek), pp. 80-81.

Fritz Koreny, Hieronymus Bosch: die Zeichnungen: Werkstatt und Nachfolge bis zum Ende des 16. Jahrhunderts: catalogue raisonné´, Turnhout 2012, pp. 112-115, 258-260.

Roger H. Marijnissen and P. Ruyffelaere, Hieronymus Bosch: the Complete Works, Antwerp 1987, pp. 451-452.

Gerd Unverfehrt, Hieronymus Bosch: Die Rezeption seiner Kunst im frühen 16. Jahrhundert, Berlin 1980, pp. 164-166, 251-252.

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