Mehr als Frühstück
The article explores the enduring presence and symbolism of the egg as a motif throughout art history. It highlights works by artists from Hieronymus Bosch and Pieter Bruegel the Elder to Salvador Dalí and Constantin Brâncuși, showing how the egg has been used in painting, sculpture, and photography to represent themes of origin, life, and perfect form.
The article examines Hieronymus Bosch's masterpiece "The Garden of Earthly Delights" (c. 1490–1510), explaining that while modern viewers often call it surreal, the term is an anachronism; the painting reflects a medieval worldview where damnation and divine order were accepted realities. It describes the triptych's structure, its likely commission by Engelbert II, Count of Nassau, and its narrative flow from grisaille exterior to vivid interior panels depicting Eden and hell. The piece also notes how 20th-century Surrealists like André Breton and Salvador Dalí claimed Bosch as a precursor, with Dalí directly borrowing motifs from the painting.
Was uns Hans Memlings Jüngstes Gericht noch sagt
Hans Memling's 15th-century triptych "The Last Judgment" is currently undergoing restoration at the National Museum in Gdańsk, Poland, and is expected to be off view until the end of the year. The artwork, painted before 1465, has a dramatic provenance, having been captured at sea by a privateer en route from Bruges to Florence and eventually finding a permanent home in Gdańsk after various displacements.
Henri Matisse made two pivotal trips to Tangier, Morocco, in 1912-1913, documented in Jeff Koehler's new book *Matisse in Morocco: A Journey of Light and Colour*. At a low point in his career—having lost patrons and critical support after his Fauve period—Matisse sought new inspiration, producing over 20 paintings despite challenges like rain, insomnia, and difficulty finding models. Commissions from Russian collectors Sergei Shchukin and Ivan Morozov helped fund the trips, and Matisse worked at the Villa Brooks estate, creating works such as *Moroccan Landscape (Acanthus)* (1912) and *The Palm* (1912). The article also highlights Matisse's discovery of fingerprints on *View of the Bay of Tangier* (1912-13) and his reliance on a Moroccan model named Zorah.