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April 5, 2019 by Caitlin Fitzgerald 0
Art, art history

How Bosch’s “The Haywain” Shows us the Revelry of Mardi Gras

How Bosch’s “The Haywain” Shows us the Revelry of Mardi Gras
April 5, 2019 by Caitlin Fitzgerald 0
Art, art history

The Haywain Triptych

Hieronymus Bosch needs little introduction in the world of art. One day, I’ll write out the story of how, as a fifth grader, I traveled to the Prado with my family and saw his strangely fanciful work that first put the idea in my head that art could be a LOT of different things and I could be an artist if I wanted to.

However, in a post Mardi Gras New Orleans (okay, the Lenten season) the piece I really want to write about is “The Haywain”. It shows us a world at once foreign in its primitive setting and yet all too familiar in its sentiments and frantic revelry.

Dated around 1510-16 the Haywain is a triptych with an overall moral warning. It’s seems I’ve made up in my head its attribution to the carnival season, as I can find no evidence of anyone else making this claim though I feel I’ve heard it in the past.

Flanked on the sides of the triptych is a vision of the expulsion from the Garden of Eden, and a fiery visage of hell. When closed, the triptych shows us a motif seen in other works by Bosch referred to as The Wayfarer – a lone traveler making his way along a road surrounded by treachery, temptation, and crime.

Wayfarer

We’re not here to dwell on their content, however, but rather to focus on the central panel. Perched between the divine and the diabolical is an image of – what exactly?

Hieronymus_Bosch_The_Hay_Wain-500

The sight is a busy one, filled with people and activity all surrounding a comically large cart overflowing with hay (a metaphor for money), and a distressed Christ gazing down from above – seemingly throwing his hands in the air in exasperation at the whole scene. The Prado offers online visitors an amazing reproduction with incredible detail here.

The wagon of hay itself could be a reference to pre-Lenten floats and parades that are popular in the Christian world. Upon the very top are several figures – an angel kneeling and sharing a knowing glance with Jesus, a demon playing an instrument of some kind, lovers embracing in a bush, musicians pouring over a score, and a figure hidden in the bush watching. They are seemingly oblivious to the world.

Haywain Top

Underneath is bedlam, people grab at the hay (a metaphor for money), they are crushed under the wheels of a cart, demons seem to be dragging it to hell while nobles follow behind. In the foreground – a multitude of sins.

Those who analyze art for a living can give a better breakdown of the activity than I can, but to me the image evokes an insight into New Orleans and it’s Mardi Gras festivities. To me, this panel is a perfect summation for the pageantry, celebration, risk, and ridiculousness that is the Mardi Gras season. The good, bad, and everything in between wrapped into one ridiculous cart of hay.

There’s an element of privilege to Mardi Gras – living along parade routes or affording the time to camp out a spot. Also, it’s who you know. It’s a collection of clubs that to an outsider can seem exclusive while at the same time being an excuse for outsiders to enter the city and behave badly. It’s a paradox leading up to Lent that can vex and delight at the same time. But there always seems to be a pressure over the entire city to celebrate.

Front of Haywain

There’s also the chaos of the “throw”. You may have no desire for plastic junk and shiny beads, but once you’re in a crowd you will inexplicably find yourself raising up your arms to catch whatever is coming your way. Totally useless stuff that can not produce happiness for you, but in an infectious moment it does.

The Rich

And while Bosch’s paintings are typically interpreted as sternly disapproving of the behaviors of mankind, I can’t help but feel he was also having a laugh at our expense. Every demon rendered seems to be where Bosch’s creativity really comes alive. The excitement of knife about to be thrust, absolute chaos and crime, are where his mastery lives.

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Hi, I'm Caitlin.

Welcome to my blog. I'm a practicing artist in Massachusetts focusing on sculpture, painting, stained glass, and mixed media arts. This blog covers my process, interests, and other various topics that grab my interests as I create.

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REPOST - Better version with less lazy editing! I found a couple of these old dry-point etchings from college recently. I really like this piece. I really enjoyed etching and all the moody marks you could get on the page. Part of the research for my last blog post and Guinefort page was digging around trying to find images from Cod. 1856 (also known as The Black Hours of Charles the Bold/Galeazzo Maria Sforza). If you missed it with the email and/or shop update: a new blog post is up about the latest and greatest Guinefort piece (image 3) and some of the works of art that inspired it. Exciting news! My Etsy shop has been updated with some beautiful new items. Check out the latest Saint Guinefort Print, which has multiple options including different colored mats, as well as my new ceramic work and stained glass pieces. I'm also offering more matting options for some of my past works as well. Seven years ago. The candy jackalope was created. New sculptures coming later in the year, 10 years of critters, whether you see them as jackalopes, lepus cornutus, witch familiars, faux taxidermy, witch hares, or something else...it's been a decade. More to come! More cauldrons for my upcoming shop update, currently scheduled for 4/21. A little something different for me. I'm trying to push myself to be more present in the behind-the-scenes process of my art creation, because maybe that makes it a little more fun. Here's a little compilation of videos from a piece I did all the way back in 2018. I recently discovered some postcards I had made up of it that I'll be including in my next shop update, which will be the week of April 21st. The past few days have been a marathon of mold-making. Turns out what was very quick in hot, humid New Orleans is taking several days in the cold of New England (Guess who just read the full product overview, which says to not cure rubber where the temperature is less than 65° Fahrenheit ? I'm lucky if it's 60° in here currently, nothing for it now but to keep going!)
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