THE NEW YORK TIMES
By Nina Siegal
![](https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEinKvAPqfP69LX727_GVQvy3ZS2iOHCiLMFRilbWGX0GlTVwHXDE-R1HhnAINfpoZitakLrj6mPuuZUS_Vs-OQAvH813PMBTdbKqfCh8MMBfKCexfK_dT840cJRA3Btc9HxFzTWpprcBPXJ/s400/11IHT-boschshows11a-master675.jpg) |
The “Haywain Triptych” is the centerpiece of an exhibition of 16th-century Dutch and Flemish art running until Jan. 17 that focuses on the crude and often comedic aspects of daily life in the late Middle Ages and early Renaissance. |
NETHERLANDS---Five hundred years ago, a cheeky
Roman Catholic artist from the Dutch town of ’s-Hertogenbosch revolutionized the triptych, the three-panel altarpiece form traditionally used for scenes of virgins, cherubs and saints. In his “Haywain Triptych” of 1515,
Hieronymus Bosch instead painted in ordinary sinners — murderers, whores, quacks and errant clergymen — being escorted toward Hell by a weird parade of rodent-faced demons and fish-shaped devils. The “Haywain” — or hay wagon — was an important turning point in the secularization of religious art, Mr. Lammertse said. [
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