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Jheronimus Bosch 112
 

 

 

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Summary

Artist
Title

The Pedlar.

Alternate title(s):
Pedlar.[1]

Date

circa 1494-1516

Medium

oil on panel

Dimensions

71 × 70.6 cm (28 × 27.8 in)

Room 106

Accession number

1079 (OK)

Object history

Théodor Schiff, Paris
before 1904(1904): , Paris
by 1904(1904): Albert Figdor (1843-1927), Vienna
between 29 September 1930(1930-09-29) and 30 September 1930(1930-09-30): purchased by Jacques Goudstikker (art dealer), Amsterdam, at the sale of the collection of Albert Figdor at Cassirer, Berlin, lotno. 41, for DEM 385,000
1931(1931): purchased by the Museum Boijmans Van Beuningen, Rotterdam, from Jacques Goudstikker, Amsterdam for NLG 262,000

Credit line

Purchased with support of Vereniging Rembrandt, D.G. van Beuningen, F.W. Koenigs and J.P. van der Schilden

References

Anonymous, Museum Boijmans Van Beuningen collection online, as The pedlar, circa 1500(1500), 71 × 70.6 cm (28 × 27.8 in).
Anonymous, RKDimages, Art-work number 27627, as De marskramer, circa 1494(1494) or later (1487-1516), 70.6 × 70.6 cm (27.8 × 27.8 in).
Friedländer, Max J. (1969) Early Netherlandisch Painting. Volume V. Geertgen tot Sint Jans and Jerome Bosch, Leyden: A.W. Slijthof, Brussels: La Connaissance, p. 87, as The Prodigal Son.
Koldeweij, A.M., P. Vandenbroeck en B. Vermet (2001) Jheronimus Bosch. Alle schilderijen en tekeningen, Rotterdam: NAi Uitgevers, Gent/Amsterdam: Ludion, ISBN 90-5662-219-6, p. 29, as Marskramer, circa 1494(1494) or later, 71 × 70.6 cm (28 × 27.8 in), with color image.

Source/Photographer

collectie.boijmans.nl : Home : Info : Pic

Permission
(Reusing this file)

See below.

Other versions
Hieronymus Bosch 047.jpg File:Hieronymus Bosch 047.jpg
Version from 10.000 Meisterwerke der Malerei
WLANL - Quistnix! - Museum Boijmans van Beuningen - De Marskramer, Jeroen Bosch, met lijst.jpg File:WLANL - Quistnix! - Museum Boijmans van Beuningen - De Marskramer, Jeroen Bosch, met lijst.jpg
Version with frame

Licensing

This is a faithful photographic reproduction of an original two-dimensional work of art. The work of art itself is in the public domain for the following reason:
Public domain This work is in the public domain in the United States, and those countries with a copyright term of life of the author plus 100 years or fewer.

This file has been identified as being free of known restrictions under copyright law, including all related and neighboring rights.

The official position taken by the Wikimedia Foundation is that "faithful reproductions of two-dimensional public domain works of art are public domain, and that claims to the contrary represent an assault on the very concept of a public domain". For details, see Commons:When to use the PD-Art tag.
This photographic reproduction is therefore also considered to be in the public domain.

Please be aware that depending on local laws, re-use of this content may be prohibited or restricted in your jurisdiction. See Commons:Reuse of PD-Art photographs.

Notes

  1. ? Koldeweij, Vandenbroeck, and Vermet (2001; ISBN 0-8109-6735-9): p. 88.


Annotations

This image is annotated: View the annotations at Commons



Licensing:
Public Domain

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EXIF data:
File name jheronimus_bosch_112.jpg
Size, bytes 133663
Mime type image/jpeg
User comments BOSCH, Hieronymus (b. ca. 1450, 's-Hertogenbosch, d. 1516, 's-Hertogenbosch) The Wayfarer - Oil on panel, diameter 71,5 cm Museum Boijmans Van Beuningen, Rotterdam In this circular painting Bosch reworked the figure of the wayfarer on the outer wings of the Haywain a decade or so later, this time placing him against one of his most delicately conceived landscapes. The rolling sand dunes at the right and the subdued tonalities of grey und yellow are sensitive transcriptions into paint of the rain-drenched Dutch countryside. The large foreground figure closely recalls the Haywain pilgrim, except that he appears even more haggard and poorly dressed. There are, however, some subtle differences. Except for the snarling dog, with its possible allusion to slander, the dangers of the world are here chiefly spiritual. They are embodied first of all in the tavern at the left, whose ruinous condition echoes the ragged clothes of the wayfarer. The tavern symbolizes the World and the Devil in general, its dubious nature revealed by the man urinating at the right, and by the couple embracing in the doorway. Another inmate of the house peers curiously through one of the dilapidated windows. The customer for whom the second woman waits may very well be the traveller himself. He has not just emerged from the tavern, but has passed it in his journey and his path leads towards a gate and the tranquil Dutch countryside beyond. Now he halts on the road, as if allured by its promise of pleasure. Whether the pilgrim will turn away from the tavern to pass through the gate is as doubtful. Some scholars assume that the picture represents an episode from the parable of the Prodigal Son. In this circular painting Bosch reworked the figure of the wayfarer on the outer wings of the Haywain a decade or so later, this time placing him against one of his most delicately conceived landscapes. The rolling sand dunes at the right and the subdued tonalities of grey und yellow are sensitive transcriptions into paint of the rain-drenched Dutch countryside. The large foreground figure closely recalls the Haywain pilgrim, except that he appears even more haggard and poorly dressed. There are, however, some subtle differences. Except for the snarling dog, with its possible allusion to slander, the dangers of the world are here chiefly spiritual. They are embodied first of all in the tavern at the left, whose ruinous condition echoes the ragged clothes of the wayfarer. The tavern symbolizes the World and the Devil in general, its dubious nature revealed by the man urinating at the right, and by the couple embracing in the doorway. Another inmate of the house peers curiously through one of the dilapidated windows. The customer for whom the second woman waits may very well be the traveller himself. He has not just emerged from the tavern, but has passed it in his journey and his path leads towards a gate and the tranquil Dutch countryside beyond. Now he halts on the road, as if allured by its promise of pleasure. Whether the pilgrim will turn away from the tavern to pass through the gate is as doubtful. Some scholars assume that the picture represents an episode from the parable of the Prodigal Son. --- Keywords: -------------- Author: BOSCH, Hieronymus Title: The Wayfarer Time-line: 1451-1500 School: Netherlandish Form: painting Type: religious
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