![Sample our Arts journals, sign in here to start your access, latest two volumes FREE to you for 14 days]({"type":"image" , "src" : "/sda/110799/TOC-Subject-Sample-2021-Arts.jpg"})
Abstract
The original significance of Bosch's imagery, especially his scenes of Hell, was transformed by subsequent generations. Lampsonius and Lomazzo praised Bosch as the depicter of “dreams,” and artists showed Boschian monsters swarming around sleeping figures. The persistent association of Bosch with dreams was probably influenced by Renaissance theories concerning the cause of nightmares and the significance of grotesques: both phenomena were interpreted as the activities of a mind whose reason is in abeyance, suppressed in sleep. In this manner, Bosch's art was adapted to the taste of an age that no longer shared his medieval vision of the afterlife.
Additional information
Notes on contributors
Walter S. Gibson
Walter S. Gibson is the author of books on Bosch and Bruegel; his articles have appeared in American and European journals. His most recent book is “Mirror of the Earth”: The World Landscape in Flemish Painting of the Sixteenth Century, Princeton, 1989 [Department of Art, Case Western Reserve University, Cleveland, Ohio 44106].