My Kid Could Paint That

Artists Losing It

Curated by Drew Bierwirth

Hieronymus Bosch, Garden of Earthly Delights, 1504

Insane root. Bosch's piece, when I first saw it, confused me. As it should, but the chaotic nature of the subject matter made my eyes unable to focus on one part of the scene. This triptych shows the actions of humans on Earth and their inevitable doom inside an egg-man.

Bosch's work has been analyzed for years and years. People wonder if he was mentally ill, on some types of 14th century drugs, or actually just like this. Here's the thing: Bosch lived a strictly monastic lifestyle, and during that period there wasn't much belief in forgiveness for transgressions. It's more of a one-and-done kind of thing. Which would lead someone completely immersed in that type of mind-space, always terrified of divine judgement, to be a little wacky. Bosch seems to work through this fear here, in a chaotic way that many people blame on less complex causes.

I could talk about lead poisoning, exhaustion, malnutrition, even ergot poisoning in hopes of explaining Bosch's incredible, inexplicable talent. But that would do no good. It's there, chaotic and dystopian, and inspired so many works later. I don't know how many paintings I've used the word Bosch-esque to describe. This piece is special because it's completely unlike any painting of the period, using the same triptych technique and using the three canvases to make something truly dynamic.

In the middle panel, young people are talking and interacting with each other and with plants and animals. Animalism, temptation, and other bizarre behaviors are ubiquitously exhibited in front of our eyes. In the middle ground, young men riding on horse-like animals, circle around the bathing women in a round pound--a rite that was viewed as symbols of heresy and passion by Bosch's contemporaries. In the background, structures in pink and blue are depicted in an organic manner, and again, with sexual innuendo. Even in the wildest dream wouldn't one imagine such a phantasmagoria of outlandish phenomena. Critics commonly believe Bosch here depicts a false paradise, where all physical desire is fulfilled in exchange of human reason and soul.

I was amazed by the unique way that Bosch propagates his belief. This image is pretty surrealistic even in the eyes of the 21st century. However, the message that Bosch trying to preach here repels me. Under his brush, people animalized, sexuality as a sin floods, and humanity is on the verge of doom. On some level, the perverted false paradise and the sadistic panorama of the hell really demonstrates Bosch's pessimistic vision of the world, and maybe, his morbid mind as well. After all, who could deliberately depict such a image if he has not pictured it in his deepest mind? In a Freudian manner, like Dali did in the 20th century, one could argue that these images are surrealistic expressions of Bosch's repressed desire. If desires like these exist even in the most Christian heart, the question becomes not just "can you practice what you preach?" but rather "should we believe what you preach?"