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.