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HIËRONYMUS BOSCH (+1516)
THE TEMPATION OF SAINT ANTHONY Saint Anthony won a lot of praise in Hiëronymus Bosch's heyday. He resisted diabolical temptations, in sharp contrast with the ordinary mortals, as this triptych portrays in splendid colours. The closed panels show the arrest and crucifixion of Jesus.
JB12 h. 9,5 cm
MONSTER PLAYING THE HARP This creature with its monstrous skull is riding on a peculiarly plucked goose-like creature. He is playing his harp, here as a symbol for one of the many temptations to which mankind is exposed and which Saint Anthony so bravely resisted. Even in those days, making music could apparently lead to lecherous behaviour.
JB03 h. 11,5 cm
FISH WITH TOWER On the left panel one can find this peculiar fish with architectural features that is prepared to eat its fellow sort. It is a diabolical creature with its red, armoured second skin on which the turret is displayed. He is situated right in front of the brothel, one of the temptations that Antonius resisted gloriously.
Saint Anthony on flying frog
On the left panel of the triptych The Temptation of Saint Anthony, the Saint is carried away after he has been battered by the devil. In the sacred story he is once again assaulted and tossed high into the air by the devils. Poor Anthony here lies praying on a flying frog, whilst he is being besieged by devils in wolves clothing. The frog appears on the painting as an androgynous symbol several times.
SALVADOR DALI (1904-1989)
Geopolitical child watches the birth of the new human (1943) Whilst the world is on fire Dalí paints the birth of the new human. Frightened, seeking the protection of its mother, the child sees a man struggling to escape a plastic egg of which the continents drip down. Here stands the new symbol of a new order, a new beginning for a new and perfect world. The painting is a plea for a radical liberation from the oppressive entwinement from the past. In the opening sentences of his manifest which was published some years before Dalí says, "When during the history of its culture a people feel the need to cut the ties with which it is bound to the logical systems of the past in order to obtain an independent mythology - a mythology which perfectly fits its essence and its total expression of their biological reality and is recognised by the higher elite- then public opinion demands from the pragmatic society, considering its own systematic, that the motives for such a split is enlightened with traditional and worn out formulas."
AMEDEO MODIGLIANI (1884-1920)
MO03 h.11,0 cm
Jeanne Hébuterne with a big straw hat. Two years before his death Amedeo painted a portrait of his 21-year-old Jeanne. He had lived together with this fair-skinned, auburn-haired young artist since 1916. Jeanne's portrait with a big straw hat is considered the most beautiful of the sixteen portraits Amedeo painted of her. With his typical use of colours, inspired by Byzantine art, he paints a modest, friendly Jeanne in geometric forms. The portrait is painted in the year that Jeanne becomes pregnant with their daughter Giovanna. Two years later she becomes pregnant again but ends her own life the day after Amedeo dies.
GUSTAV KLIMT (1862-1918)
KL 23 h. 21,0 cm
The Fulfilment (1905-1909) The lovers turn their backs against the world hiding behind the salutary Jugendstil ornamentation in a rigid embrace. These figures form a part of a decorative mosaic design in the dining room frieze of the 'Palais Stocklet' in Brussels.
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