Filling the void. Copies of Bosch’s 'Ecce Homo'

Pieter Bruegel. Drawing the World, 2017

In various iconographic fields, Pieter Bruegel was a radical renewer and highly momentous point of reference for subsequent generations. Despite his considerable innovations, however, he also aligned himself to a long tradition of important predecessors. In the early sixteenth century, not only Italian artists such as Titian and Domenico Campagnola, but also their contemporaries working north of the Alps, including Quentin Massys, Albrecht Dürer, and Lucas van Leyden, created fundamental prerequisites for his pictorial inventions. In the following, however, the primary goal shall be to investigate how, why, and along which paths of transference the art of Hieronymus Bosch, who died in 1516, had a decisive effect on especially the early artistic vocabulary of the master.

Jheronimus Bosch: his Life and his Works. 4th International Bosch Conference, April 14-16, 2016, Jheronimus Bosch Art Center, 's-Hertogenbosch, 2016

Pokorny is an independent researcher who studied history and art history at the University of Vienna. In the 1990s, he worked as a freelance researcher and curator inter alia at the Albertina and the Academy of Fine Arts in Vienna. In recent years, he has worked as an external lecturer at several Austrian universities, and he currently lectures at the Academy of Fine Arts. His publications focus on late medieval and early modern iconography and graphic art.

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Proceedings of the Royal Society of Medicine, 1965

Rubens brought back at least 22 full-size painted copies of works by Titian from his visit to the court of Philip IV in Madrid in 1628-29. Only seven are widely accepted as having survived. This paper argues that three more -all portraits of men and associated with lost works by Titian -formed part of this group but were painted by assistants, not by Rubens himself. The entire group presents a different problem from the standard repetition of compositions in a workshop because Rubens kept these copies for his own collection. However, one of the examples examined survives in a prime example painted under Rubens's direction in Madrid and a studio repetition made in his Antwerp studio after his return and presumably for sale.

Master Drawings, 2003

From Bosch's Stable. Jheronimus Bosch and the Adoration of the Magi, 2018

The feast of Epiphany was extremely popular in the visual arts of the late middle ages. This resulted in an abundance of festive depictions, full of exotic figures with lavish costumes and attributes. Hieronymus Bosch also depicted this theme several times. Two of those paintings have been preserved. One belongs to the Metropolitan Museum of Art (New York) and the other to the Museo del Prado (Madrid). Both paintings were copied and imitated almost immediately, indicating they were held in high esteem. The early admiration in Bosch's own time is remarkable. With over 30 early copies still in existence, the interpretation of Bosch is one of the most popular compositions in the late medieval Netherlands. The Bosch Research and Conservation Project, which has been researching Bosch's work and studio since 2010, has carefully investigated a number of these copies. The exposition in Het Noordbrabants Museum and the eponymous publication From Bosch's Stable-Hieronymus Bosch and the Adoration of the Magi devotes extensive attention to this imitation.

Proceedings of the 4th International Bosch Conference. Jheronimus Bosch: His Life and his Work, 2016