Bosch-7_Deadly_Sins
Here are some sources that may have some information. A couple of them came up in searches and do not immediately seem relevant, but they looked interesting all the same.
Here is the page with all of these articles: Bosch-7_Deadly_Sins/
Bensimon, Marc. "The
Significance of Eye Imagery in the Renaissance from Bosch to Montaigne." Yale French Studies, no. 47 (1972):
266-290.
Emmerson, Richard K. "The
Representation of Antichrist in Hildegard of Bingen's Scivias: Image, Word,
Commentary, and Visionary Experience." Gesta
41, no. 2 (2002): 95-110.
-Drawing on inherited traditional
symbolism, apocalyptic iconography, and monastic exegesis, this essay explores
how the representation of the Vision of the Last Days in Hildegards Scivias,
and, in particular, the image of Antichrist, may have been understood by
Hildegard, her monastic magister, Volmar, and other members of her earliest
audience. Focusing on the miniature included in the lost Rupertsberg manuscript
of Scivias as the best witness to Hildegards original designs, the essay argues
that the vision, its visual rendering, Hildegards description of it, and the
commentary on it spoken by the Voice from Heaven are qualitatively and temporally
distinct aspects of Hildegards visionary experience. In a concluding analysis,
the frontispiece of the Rupertsberg manuscript, which depicts Hildegard in
vision, is shown to distinguish four stages in her visionary experience.
Glum, Peter. "Divine Judgment
in Bosch's Garden of Earthly Delights." The Art Bulletin 58, no. 1 (1976): 45-54.
Jacobs, Lynn F. "The
Triptychs of Hieronymus Bosch." The
Sixteenth Century Journal 31, no. 4 (2000): 1009-1041.
-The sixteenth-century painter
Hieronymus Bosch, though steeped in the traditions and conventions of the
Netherlandish triptych, inverted and subverted that format. As is particularly
manifest in three of his most famous triptychs (the Prado Epiphany, Temptation
of Saint Anthony, and Garden of Earthly Delights), Bosch supplanted traditional
religious iconography with more secular themes, he increased the importance of
the exteriors, thereby rejecting the standard hierarchical structure, and he
unified the various panels to an unprecedented degree, thus departing from the
additive conception of the triptych. Bosch's innovations, far from representing
the dissolution of the triptych, served to inject new life and expand the
possibilities of this traditional type.
Kunzle, David. "Bruegel's
Proverb Painting and the World Upside Down." The Art Bulletin 59, no. 2 (1977): 197-202.
Pigler, Andrew. "Astrology
and Jerome Bosch." The Burlington
Magazine 92, no. 566 (1950): 132-136.
Silver, Larry. "God in the
Details: Bosch and Judgment(S)." The
Art Bulletin 83, no. 4 (2001): 626-650.
-While many of their details
remain unexplained, the paintings of Hieronymus Bosch (d. 1516) provide strong
patterns of viewing, which offer moral instruction through directed sight. His triptychs
frequently read from left to right, from Eden to Hell. Most of Bosch's works
reveal a vision of Heaven or of Christ only to the most perceptive of viewers,
those who can discern this insight amid the distractions and temptations of a
demonic setting. Bosch even thematizes both sight and moral insight in his
"Seven Deadly Sins", where the eye of God forms the central image.
Wilson-Chevalier, Kathleen.
"Sebastian Brant: The Key to Understanding Luca Penni's Justice and the
Seven Deadly Sins." The Art Bulletin
78, no. 2 (1996): 236-263.
-This essay presents a detailed
study of eight well-known School of Fontainebleau prints, Justice and the Seven
Deadly Sins, etched by Léon Davent after the Franco-Italian artist Luca Penni.
Some of Penni's borrowings from earlier graphic works are analyzed, in
particular Sebastian Brant's Ship of Fools, a key source of inspiration. The
prints are situated in the religious, social, and economic context of
mid-sixteenth-century France, and the gender and ideological content of what
may well be Penni's artistic testament is scrutinized. The series is
interpreted as actively sustaining the creation of the early modern state.