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Artist: Hieronymus Bosch, Netherlandish, ca. 1450–1516
An Allegory of Intemperance
Oil on panel
unframed: 34.9 x 31.4 x 1.6 cm (13 3/4 x 12 3/8 x 5/8 in.) framed: 46.5 x 41.9 cm (18 5/16 x 16 1/2 in.)
Gift of Hannah D. and Louis M. Rabinowitz
This painting is a fragment: along with the Ship of Fools (Musée du Louvre, Paris), it formed the left wing of a triptych (now dismantled). Together, the paintings symbolize Gluttony, one of the seven deadly sins. The right wing of the triptych, Death and the Miser (National Gallery of Art, Washington, D.C.), embodies Avarice. The missing central panel most likely represented the remaining sins, Pride, Envy, Lust, Anger, and Sloth. Hieronymus Bosch’s unique imagery combined fantastical creatures, visual puns, and representations of proverbs to symbolize vice and its dangerous consequences. His powerful moral allegories were in demand throughout Europe, though their complex iconography may not always have been fully understood.
Not on view
Edna Perkel, An Exhibition of Paintings: for the Benefit of the Research Fund of Art and Archaeology, The Spanish Institute, Inc., exh. cat. (New York: E. and A. Silberman Galleries, Inc., October 12November 1, 1955), 20, no. 8, ill.
Charles Seymour, “Louis Mayer Rabinowitz,” Bulletin of the Associates in Fine Arts at Yale University 23 (February 1957): 1112, fig. 1.
Artists on Art: Observations by Yale Faculty on Selections from the Yale University Art Gallery (New Haven, Conn.: Yale University Art Gallery, 1999), 1619, ill.
Susan B. Matheson, Art for Yale: A History of the Yale University Art Gallery (New Haven, Conn.: Yale University Art Gallery, 2001), 13435, 156, fig. 132.
John Varriano, Wine: A Cultural History, exh. cat. (London: Reaktion Books, 2010), 135, no. 60, ill.
Noordbrabants Museum, Jheronimus Bosch: Visioenen van een genie, exh. cat. (’s-Hertogenbosch, Netherlands: Fonds Mercator, February 13May 8, 2016), 2021, 22 (detail), no. 3, ill.
Note: This electronic record was created from historic documentation that does not necessarily reflect the Yale University Art Gallery’s complete or current knowledge about the object. Review and updating of such records is ongoing.