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HIERONYMOUS BOSCH
The Carrying of the Cross (c. 1510-1516)
Oil on oak, 76.7cm X 83.5cm / 30 in x 33in

While contemporaries were fascinated by Bosch as an inventor of monsters and chimeras', they were also impressed by the originality of his technique. Karel van Mander, the first historian of Northern painting. wrote in 1604 that Bosch 'had established a very rapid, characteistic way of working, setting many of his things down at first, which nevertheless remained | very beautiful without alteration. He also had, like other masters, the method of drawing and tracing out on the white of the panels and laying over this a flesh-colored priming, and he often let the ground play a part too.

The techniques which Bosch employed in his paintings were both traditional and original. Most of his works were executed on panels covered with a thin chalk ground and an oil film laid over to reduce absorbency. However, an innovatory second chalk ground was applied which added brilliance to the paint. I The underdrawing was done with a brush and I thin black paint. Bosch was not concerned with an objective description of detail, light, or perspective, but an expression of form. His style was rapid, sketchy, linear and often limited to single broken lines that search out the main

contours of shapes in the painting.. Bosch's expressive, simplified style of drawing is matched by his painting technique. He generally applied only one thin coat of paint, and it is only in the cases of red and green glazes over opaque substrates that more layers have been found in this painting. This differs dramatically from I the complicated, stratified construction of earlier Netherlandish paintings.

Bosch's use of white also illustrates his original technique. Firstly, white is used much more abundantly and to achieve color effects in a single application rather than relying on the traditional method of repeated, transparent ; modulations of underpainting. This is linked to a diminished interest in surface textures and detail and an unusual choice of unsaturated colors. In addition, white is often used graphically and expressively in a mass of accented, loaded brushstrokes. The texture of these strokes marks the surface of the painting in a highly individualized way that contrasts with the smooth finishes of van Eyck and marks a departure in Northern painting. This is one of the major technical characteristics of Bosch's work.

In this picture, the'paint was still applied in thin flat layers in the traditional manner, but the visibility and expressive purpose of the brushwork, the detached white highlights and the simplification of the modelling were all innovatory. There was every extensive underdrawing - usually single curving strokes without crosshatching which describe the main forms. In places, the underdrawing has become visible to the naked eye. Despite the dexterity with which the underdrawing was done, it is unlikely to | have been transferred from a cartoon. There is a general tendency for the paint to exceed the lines of the drawing, but there are no major alterations.

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