In her right hand, she holds a rosebud, which has its own sexual connotations. The woman before us is dressed as an elderly temptress. For decades, scholars believed this painting and its partner, Old Man, were satirical statements. You just can’t help but do a double take with this strange painting. Their features and positioning allude to the idea that Magdalena’s reputation overshadows that of her husband, turning the typical marital balance upside down. Magdalena’s husband stands in the shadows behind her, appearing much older and more feeble. Even her finely colored robes allude to a manly figure as if, ironically, recalling an image of a Biblical prophet. Meanwhile, her facial features, beard, and muscular figure juxtapose the womanly task with a masculine image. While her breast appears a bit out of place, Ribera intentionally depicted her breastfeeding her son to show she is anatomically a woman. In fact, the Viceroy of Naples was fascinated by her and commissioned Ribera to paint her portrait. Oddly enough, this made her quite famous. So, she defied those standards and created her own. Our lady, Magdalena, wasn’t much of a fan of the Renaissance’s ideal beauty. While we might think this is a relatively new idea, Jusepe de Ribera‘s painting just might prove otherwise. We’ll continue our tour of strange paintings with a portrait of two men? Right? Guess again! The figure in the front is none other than the Bearded Woman of Abruzzi! Nowadays, gender is a fluid concept for most. Jusepe de Ribera, Magdalena Ventura with Her Husband and Son, 1631, Museo Fondación Duque de Lerma, Toledo, Spain. ![]() Magdalena Ventura with Her Husband and Son To fall into the rabbit hole of details, click here!Ģ. It would take a whole book to unpack all the symbolism jammed into this strange painting. Many of these symbols are taken straight from the seven deadly sins, themselves, which often leads us to believe that over-indulgence and consumption ultimately lead to our demise. ![]() Those ears are the perfect example the knife piercing them strongly represents that deceptive lure. Throughout the whole panel, there are several musical instruments that symbolize the evil distractions our senses create. Seated atop a toilet-like throne, he is mid-snack while also excreting another human. Just take a look at the blue, bird-like creature towards the right side. As your eyes dare venture further down, there’s a pair of ears with a knife protruding through them, humans gathering for shelter, and all manner of strange beasts consuming humans. At the top, we see a shadowy city of sorts, illuminated by the fires springing up around it. Most depictions of the fiery depths are quite tame compared to Bosch’s painting. Then, on the right panel, all hell breaks loose – quite literally. 1480-1505, Museo Nacional del Prado, Madrid, Spain. Hieronymous Bosch, The Garden of Earthly Delights (right panel), c. Down on the earthly side, we see humans engaging in all kinds of behavior in a variety of odd places two figures are laid up inside a clam, two more are face to face standing on their heads, or just chilling in an oddly egg-like object. In the air, you’ll find tree-bearing humans sailing through the air atop a swan-lion hybrid. As you take it all in, you’ll also probably wonder what Bosch ate to conjure such surrealistic images. The left and central panels utilize a common horizon line that carries your eyes through Eden. As your eyes move about, you’ll probably conclude Bosch has created an image of a human menagerie. When the outer panels unfold, they reveal three brightly colored panels depicting a common theme: sin. Hieronymous Bosch, The Garden of Earthly Delights (outer panels), c.1480-1505, Museo Nacional del Prado, Madrid, Spain. God is perched in the top right corner as he observes his handy-work. The half-empty sphere illustrates the formation of Eden as the waters of the world seem to drain and separate. ![]() The story begins on the outer panels where Bosch created a monochromatic image of the Third Day of the Creation of the World. From outer panels to inside panels, it visualizes the Biblical creation and humanity’s fate, inflicted by our own tragic flaws. ![]() How can we not begin this list with Hieronymus Bosch’s famously bizarre triptych, The Garden of Earthly Delights? The infamous masterpiece was likely commissioned by Engelbert, Count of Nassau, for the Coudenberg Palace. Hieronymus Bosch, The Garden of Earthly Delights, c.1480-1505, Museo Nacional del Prado, Madrid, Spain. Today, we’re going to dive, headfirst, into that box! So, strap in as we take a look at the top 10 strange paintings. It’s almost like being the weird kid in middle school you get put in your “box” and people peek in but don’t ask too many questions – that is if they dare to get close. We usually gloss over the oddities, because, well, they’re just weird. For every picturesque painting, there is at least one strange and bizarre counterpart.
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