Foto Marc Bolsius

Press File including Images

Bosch Research and Conservation Project

Please contact Matthijs Ilsink, project coördinator, via email for information about the Bosch Research and Conservation Project.

Press Releases

Newly discovered painting expands Bosch’s small oeuvre

1 February 2016

The worldwide study performed by the Bosch Research and Conservation Project (BRCP) has shown that The Temptation of St. Anthony from The Nelson-Atkins Museum of Art, Kansas City, Missouri, ought to be attributed to none other than Hieronymus Bosch himself. The painting was acquired early in the 1930s and held in storage for decades because it was classified as the work of a pupil or follower of Bosch. The new attribution is a significant addition to the small body of existent work produced by Hieronymus Bosch (c. 1450–Den Bosch 1516). The discovery was announced by BRCP researchers at a press conference in Het Noordbrabants Museum, where a large-scale exhibition of Hieronymus Bosch’s work opens to the public on 13 February. The painting was presented to journalists in the presence of Julián Zugazagoitia, director of The Nelson-Atkins Museum of Art.

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Largest ever research project into Hieronymus Bosch sheds new light on his oeuvre

1 February 2016

Valuable discoveries and a much greater understanding of Hieronymus Bosch’s work are the key achievements of years of systematic research and technological innovation by the Bosch Research and Conservation Project. In this way, the BRCP has made an important contribution to our understanding of the creativity and genius of this son of ’s-Hertogenbosch (Den Bosch). The BRCP’s findings have, moreover, expanded Bosch’s relatively small known oeuvre. Meanwhile, a substantial number of his paintings and drawings have been restored in the run-up to the celebration of 500 years of Hieronymus Bosch, giving them back their original lustre and reflecting the project’s twin focus on conservation as well as research. The BRCP is an initiative of Radboud University Nijmegen, the Hieronymus Bosch 500 Foundation and Het Noordbrabants Museum. It came about with the financial support of the Gieskes-Strijbis Fund and the Getty Foundation (Panel Paintings Initiative).

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Press Images

Images may be used only by accredited media in coverage of the Bosch research and Conservation project. The caption and credit must always be stated. Commercial use is prohibited.

Attributions

The Temptation of Saint Anthony (fragment)

Hieronymus Bosch

c. 1500–10, Oil on oak panel, 38.6 × 25.1 cm, Kansas City, Missouri, The Nelson-Atkins Museum of Ar t, purchase William Rockhill Nelson Trust. Photo Rik Klein Gotink and image processing Robert G. Erdmann for the Bosch Research and Conservation Project.

Infernal Landscape

Hieronymus Bosch

Pen and brown ink on paper; red ink in the helmeted monster’s right eye, 259 × 197 mm, Private collection. Photo Rik Klein Gotink and image processing Robert G. Erdmann for the Bosch Research and Conservation Project.

Conservation

The Ship of Fools (before)

Hieronymus Bosch

c. 1500–10 Oil on oak panel, 58.1 × 32.8 cm Paris, Musée du Louvre, Département des Peintures ©RMN-Grand Palais (musée du Louvre), Parijs/Franck Raux

The Ship of Fools (after)

Hieronymus Bosch

c. 1500–10 Oil on oak panel, 58.1 × 32.8 cm Paris, Musée du Louvre, Département des Peintures ©RMN-Grand Palais (musée du Louvre), Parijs/Franck Raux

The Last Judgement (before)

Hieronymus Bosch

c. 1495–1505 Oil on oak panel, left wing 99.5 × 28.8 cm, central panel 99.2 × 60.5 cm, right wing 99.5 × 28.6 cm Signed central panel, bottom right: Jheronimus bosch Bruges, Stad Brugge, Groeningemuseum Photo Rik Klein Gotink and image processing Robert G. Erdmann for the Bosch Research and Conservation Project.

The last Judgement (during)

Hieronymus Bosch

c. 1495–1505 Oil on oak panel, left wing 99.5 × 28.8 cm, central panel 99.2 × 60.5 cm, right wing 99.5 × 28.6 cm Signed central panel, bottom right: Jheronimus bosch Bruges, Stad Brugge, Groeningemuseum Photo Rik Klein Gotink and image processing Robert G. Erdmann for the Bosch Research and Conservation Project.

Hermit Saints Triptych (before)

Hieronymus Bosch

c. 1495–1505 The hermit saints Anthony, Jerome and Giles Oil on oak panel, left wing 85.4 × 29.2 cm, central panel 85.7 × 60 cm, right wing 85.7 × 28.9 cm Signed central panel: Jheronimüs bosch Venice, Gallerie dell’Accademia Photo Rik Klein Gotink and image processing Robert G. Erdmann for the Bosch Research and Conservation Project.

Hermit Saints Triptych (during)

Hieronymus Bosch

c. 1495–1505 The hermit saints Anthony, Jerome and Giles Oil on oak panel, left wing 85.4 × 29.2 cm, central panel 85.7 × 60 cm, right wing 85.7 × 28.9 cm Signed central panel: Jheronimüs bosch Venice, Gallerie dell’Accademia Photo Rik Klein Gotink and image processing Robert G. Erdmann for the Bosch Research and Conservation Project.

Saint Jerome at Prayer (before)

Hieronymus Bosch

c. 1485–95 Oil on oak panel, 80 × 60.7 cm Ghent, Museum voor Schone Kunsten Photo Rik Klein Gotink and image processing Robert G. Erdmann for the Bosch Research and Conservation Project.

Saint Jerome at Prayer (after)

Hieronymus Bosch

c. 1485–95 Oil on oak panel, 80 × 60.7 cm Ghent, Museum voor Schone Kunsten Photo Rik Klein Gotink and image processing Robert G. Erdmann for the Bosch Research and Conservation Project.

Christ Carrying the Cross (before)

Hieronymus Bosch

c. 1490–1510 Oil on oak panel, 59.7 × 32 cm Vienna, Kunsthistorisches Museum, Gemäldegalerie © Kunsthistorisches Museum, Gemäldergalerie, KHM-Museumsverband, Wenen

Christ Carrying the Cross (after)

Hieronymus Bosch

c. 1490–1510 Oil on oak panel, 59.7 × 32 cm Vienna, Kunsthistorisches Museum, Gemäldegalerie © Kunsthistorisches Museum, Gemäldergalerie, KHM-Museumsverband, Wenen

Christ Child (before)

Hieronymus Bosch

c. 1490–1510 Oil on oak panel, 59.7 × 32 cm Vienna, Kunsthistorisches Museum, Gemäldegalerie © Kunsthistorisches Museum, Gemäldergalerie, KHM-Museumsverband, Wenen

Christ Child (after)

Hieronymus Bosch

c. 1490–1510 Oil on oak panel, 59.7 × 32 cm Vienna, Kunsthistorisches Museum, Gemäldegalerie © Kunsthistorisches Museum, Gemäldergalerie, KHM-Museumsverband, Wenen

Saint Wilgefortis Triptych (before)

Hieronymus Bosch

c. 1495–1505 Oil on oak panel, left wing 105.2 × 27.5 cm, central panel 105.2 × 62.7 cm, right wing 104.7 × 27.9 cm Venice, Gallerie dell’Accademia. Photo Rik Klein Gotink and image processing Robert G. Erdmann for the Bosch Research and Conservation Project.

Saint Wilgefortis Triptych (before)

Hieronymus Bosch

c. 1495–1505 Oil on oak panel, left wing 105.2 × 27.5 cm, central panel 105.2 × 62.7 cm, right wing 104.7 × 27.9 cm Venice, Gallerie dell’Accademia. Photo Rik Klein Gotink and image processing Robert G. Erdmann for the Bosch Research and Conservation Project.

Saint Wilgefortis Triptych (before)

Hieronymus Bosch

c. 1495–1505 Oil on oak panel, left wing 105.2 × 27.5 cm, central panel 105.2 × 62.7 cm, right wing 104.7 × 27.9 cm Venice, Gallerie dell’Accademia. Photo Rik Klein Gotink and image processing Robert G. Erdmann for the Bosch Research and Conservation Project.

Saint Wilgefortis Triptych (after)

Hieronymus Bosch

c. 1495–1505 Oil on oak panel, left wing 105.2 × 27.5 cm, central panel 105.2 × 62.7 cm, right wing 104.7 × 27.9 cm Venice, Gallerie dell’Accademia. Photo Rik Klein Gotink and image processing Robert G. Erdmann for the Bosch Research and Conservation Project.

Christoffel (voor restauratie)

Jheronimus Bosch

Ca. 1490 – 1500. Olieverf op eiken, 113,7 × 71,6 cm. Gesigneerd linksonder: Jheronimus Bosch. Rotterdam, Museum Boijmans Van Beuningen. Photo Rik Klein Gotink and image processing Robert G. Erdmann for the Bosch Research and Conservation Project.

Visioenen van het hiernamaals

Jheronimus Bosch

Het Aards Paradijs, ca. 1505–15. Olieverf op eiken, 88,5 × 39,8 cm. De tenhemelopneming van de gelukzaligen, ca. 1505–15. Olieverf op eiken, 88,8 × 39,9 cm. De val van de verdoemden, ca. 1505–15. Olieverf op eiken, 88,8 × 39,6 cm. De rivier naar de hel, ca. 1505–15. Olieverf op eiken, 88,8 × 39,6 cm, Venetië, Museo di Palazzo Grimani. Photo Rik Klein Gotink and image processing Robert G. Erdmann for the Bosch Research and Conservation Project.

Visioenen van het hiernamaals

Jheronimus Bosch

Het Aards Paradijs, ca. 1505–15. Olieverf op eiken, 88,5 × 39,8 cm. De tenhemelopneming van de gelukzaligen, ca. 1505–15. Olieverf op eiken, 88,8 × 39,9 cm. De val van de verdoemden, ca. 1505–15. Olieverf op eiken, 88,8 × 39,6 cm. De rivier naar de hel, ca. 1505–15. Olieverf op eiken, 88,8 × 39,6 cm, Venetië, Museo di Palazzo Grimani. Photo Rik Klein Gotink and image processing Robert G. Erdmann for the Bosch Research and Conservation Project.

Visioenen van het hiernamaals

Jheronimus Bosch

Het Aards Paradijs, ca. 1505–15. Olieverf op eiken, 88,5 × 39,8 cm. De tenhemelopneming van de gelukzaligen, ca. 1505–15. Olieverf op eiken, 88,8 × 39,9 cm. De val van de verdoemden, ca. 1505–15. Olieverf op eiken, 88,8 × 39,6 cm. De rivier naar de hel, ca. 1505–15. Olieverf op eiken, 88,8 × 39,6 cm, Venetië, Museo di Palazzo Grimani. Photo Rik Klein Gotink and image processing Robert G. Erdmann for the Bosch Research and Conservation Project.

Visioenen van het hiernamaals

Jheronimus Bosch

Het Aards Paradijs, ca. 1505–15. Olieverf op eiken, 88,5 × 39,8 cm. De tenhemelopneming van de gelukzaligen, ca. 1505–15. Olieverf op eiken, 88,8 × 39,9 cm. De val van de verdoemden, ca. 1505–15. Olieverf op eiken, 88,8 × 39,6 cm. De rivier naar de hel, ca. 1505–15. Olieverf op eiken, 88,8 × 39,6 cm, Venetië, Museo di Palazzo Grimani. Photo Rik Klein Gotink and image processing Robert G. Erdmann for the Bosch Research and Conservation Project.

Visioenen van het hiernamaals

Jheronimus Bosch

Het Aards Paradijs, ca. 1505–15. Olieverf op eiken, 88,5 × 39,8 cm. De tenhemelopneming van de gelukzaligen, ca. 1505–15. Olieverf op eiken, 88,8 × 39,9 cm. De val van de verdoemden, ca. 1505–15. Olieverf op eiken, 88,8 × 39,6 cm. De rivier naar de hel, ca. 1505–15. Olieverf op eiken, 88,8 × 39,6 cm, Venetië, Museo di Palazzo Grimani. Photo Rik Klein Gotink and image processing Robert G. Erdmann for the Bosch Research and Conservation Project.

De aanbidding door de koningen (na restauratie)

Ca. 1495 – 1520. Olieverf op eiken, 77,5 × 55,9 cm. Philadelphia, Philadelphia Museum of Art, John G. Johnson Collection. Photo Rik Klein Gotink and image processing Robert G. Erdmann for the Bosch Research and Conservation Project.

BRCP team

BRCP team

The Bosch Research and Conservation Project team conducts research.

BRCP team

The Bosch Research and Conservation Project team conducts research.

BRCP team

The Bosch Research and Conservation Project team conducts research.

BRCP team

The Bosch Research and Conservation Project team conducts research.

Prof. Dr. Jos. Koldeweij

Photo bymarjo

Prof. Dr. Jos. Koldeweij, Art Historian and Chairman Scientific Committee

Dr. Matthijs Ilsink

Foto bymarjo

Dr. Matthijs Ilsink, Art Historian and project coordinator

Illustrations

Compare hands according to the Morelli / Erdmann method.

Infrared photography exposes male figure next to John the Baptist.

Detail central panel Saint Wilgefortis Triptych. Left: before restoration, right during restoration.

Schematic overview of the layered structure of an early Dutch painting on panel.