Two Drawings after a Lost Triptych by Hieronymus Bosch

Information sensorium as a framework to read images: an interdisciplinary investigation on "reading images" using the Wayfarer Triptych by Jheronimus Bosch as a case study

“…Jheronimus Bosch is often noted among the notable northern European artists (Büttner, 2016;de Tolnay, 1966;Dixon, 2013;Koerner, 2004Koerner, , 2016Panofsky, 1953). Some of the earliest critical assessments and writings on Bosch labelled the artist as a fantasist who invented "monsters and chimaeras" and "things fantastical and Information sensorium as a framework to read images bizarre".…”

“…As a triptych, the paintings illustrate every man's lifelong journey and choices between good and evil. Demonts (1919), in his Information sensorium as a framework to read images writing on the Ship of Fools, already suspected that the painting belonged to one of the panels, while other scholars followed suit and suggested the placement of the paintings in the triptych for varied stylistic and morphological reasons (Adhémar, 1962;Baldass, 1968;Brand Philip, 1958;de Tolnay, 1965;Eisler, 1961;Hartau, 2003Hartau, , 2005aLammertse & Boersma, 2003;Morganstern, 1984;Reuterswärd, 1970;Rossiter, 1973;Silver, 2001;Venturi, 1945) 20 .…”

“…During the same time, Morales also wrote about the interpretation of Bosch's Haywain Triptych. Historians and scholars like Giorgio Vasari, José de Sigüenza, Karel van Mander and Dominicus Lampsonius subsequently also wrote about him and his creative approach and the use of novel techniques, describing him as an "inventor" of monsters and chimaeras or things fantastical and bizarre (de Tolnay, 1966;Gibson, 1992;Koerner, 2004Koerner, , 2016Maroto, 2017b). The writings, however, were brief commentaries.…”

“…Adhémar's bibliography was my starting source, and I accessed 20 of the listed publications in my best attempt. A forward search also surfaced publications that cited Adhémar and critically discussed the Ship of Fools after her work in 1962 (Boczkowska, 1971;Cinotti, 1966;Cuttler, 1969;de Tolnay, 1965;Morganstern, 1984). A more recent catalogue published in 2017 for a comprehensive exhibition on Bosch to commemorate the 5 th centenary of Bosch's death (Maroto, 2017b) provided further sources of newer developments in the study of the painting, such as using state-of-the-art digital imaging techniques to study the painting as employed by Erdmann et al (2016).…”