The Bosch Research and Conservation Project (BRCP) strikes again. Regular readers might remember my previous post in which I set out some of the initial findings of the BRCP, which has seen a number of works removed, once and for all, from Bosch’s œuvre, along with the addition of a new drawing. Now more information about the BRCP’s findings have come to light and it’s good news for the Nelson-Atkins Museum of Art in Kansas City, Missouri, since the Project have concluded that its Temptation of St Anthony, which has been attributed to a “follower of Bosch” and is usually kept in storage, is in fact a bona fide Bosch.
Using powerful and sophisticated infrared photography and infrared reflectography, which reveal, amongst other things, images of the painting’s underdrawing, the BCRP have determined that they can assuredly identify Bosch’s “handwriting” in the St Anthony picture. This is to say that the underdrawing, its appearance and technique, along with the way in which the paint has been applied subsequently, compares favourably with other pictures by Bosch that the Project have examined. They’ve also removed a number of overpaints and more modern retouching, which, we read, obscured many of its details. This has all gone towards their revised attribution of the picture, and they have also concluded that the panel, which has been trimmed on all sides, was originally part of a triptych that has at some point been dismantled (a fate that befell many of Bosch’s works…).
Anyway, there’s more here. You can see the picture for yourself in less than 2 weeks’ time when the major Bosch retrospective Hieronymus Bosch: Visions of a Genius opens at Noordbrabants Museum, ‘s-Hertogenbosch (13 Feb. to 8 May).