Summary. Many people of various nationalities wait in the heat of Veracruz, Mexico, on August 22, 1931, to board the North German Lloyd S.A. Vera, scheduled to arrive at Bremerhaven, Germany, on
size, is appreciated and will help us to keep our ship of fools afloat. Contributions from dedicated readers will also help us to keep our commons open and to cultivate new work that can’t find a welcoming port elsewhere. Our adventure is not possible without your support. Vive la open-access. Fig. 1. Hieronymus Bosch, Ship of Fools (1490–1500)
Hieronymus Bosch painted his Ship of Fools On the tracks of Sebastian Brant’s poem success, around 1500. This painting, part of the Louvre collection, is the left wing of a triptych known as The Wayfarer, whose central panel was lost. Bosch was probably inspired by the (pseudo) Dürer’s engraving to compose this image in which various
Hieronymus Bosch’s painting known as The Ship of Fools (c. 1490–1500) has long provoked questions regarding the meaning behind its absurd tableau of singers. For more than a century, critics have taken Bosch’s representation of Franciscans as a sign of his anticlericalism. This article reevaluates Bosch’s possible motivations, taking into consideration the literary and visual cult of
Hieronymus Bosch was a prolific Dutch Artist whose works were notable for their lush imagery and very detailed landscapes. Historians found a certain degree of consistency between this painting and other works such as the "Tritych of the Passion" that were released to the public many years later which indicates a lack of relationship between
Brant’s ship is likewise meant metaphorically, rather than literally, used somewhat haphazardly to gather these “fools” in a narrative frame. 33 The ship as a metaphoric vessel (the ship of state, the ship of the church, or even the magical ships of Arthurian literature) had both a deep history and a current resonance in the late
