Hieronymus Bosch Art Documentary with Brian Sewell

in the year 1500 the continent of Europe was poised to leave the Middle Ages behind and enter a brave new chapter of history the decades that followed can now be seen as the birth of our own modern age it was a time of discovery both geographically and intellectually in art the spirit of the Renaissance flourished especially in the great cities of Italy it was a time when reason and science began to take over from superstition and myth and Europe would never be the same again as the sixteenth century began the old way of life still persisted both here in Italy and across the Alps in northern Europe in the Netherlands as elsewhere the medieval spirits still determined much of everyday life and it was this that inspired one of the most remarkable artists of all time a man who recognized the follies of man and sought to warn against them in often horrific terms a man whose own Christianity was mixed with the folklore of the time and expressed through his own artistic genius this was the first of the Dutch masters Hieronymus Bosch the Dutch tradition of painting is one of the most enduring features in the history of Western art for centuries the lands of modern Holland and Belgium have been a focal point of truly great artistic achievement by 1450 the Netherlands had already produced painters of the caliber of Rajee eighth and Avedon and yon fan Ike just two of many great artists of the age during the 1400s and early 1500s donar portraits and religious commissions generated work for a large number of Dutch painters whose skills were often concentrated within families one such family lived in the city of certain Bosch near Antwerp in what was then the Duchy of Brabant we know that by the Year 1431 a man named Jonathan Arkin became established as a painter here and four of his five sons also became successful artists Yun fan Arkans grandson euro one became the best known member of the family and today we know by the name he adopted a name derived from that of his home city Hieronymus Bosch we do not know why hero and fan Arkin adopted his working title but this lack of knowledge is not altogether surprising details of Bosh's life are extremely scarce virtually nothing about him is known for sure the SPECT he was born in the hurt oven Bosch around the Year 1450 and it is likely he remained here all his life we also know that he married a wealthy woman around 1480 and that he was a member of a local religious order the Brotherhood of Our Lady his death in 1516 completes his historical record but beyond these few scanty details the life of Hieronymus Bosch is almost a total mystery it is through the concerns of his art we must attempt to identify the concerns of his life he's one of his men in Netherlandish pentose whose birth date we don't know and there will be or other uneasy about attempting any kind of dating of the early work we assume that he was born in 1425 or 1430 somewhere in there bracket because the document establishing him as an artist I'll say at a sort of time when most are joining the guild of sand Luke and on there's wedding contract and a dispute with a relative by marriage and so on these are little things survived and we know that he died in 1516 and that's what it and into that we have to fit an extraordinary body of work nobody's ever known how to do it and everybody sets out to do it with absolute authority you compare one Authority with another and nothing fits what we know about him is small fragments fragments for example which Caliban manda mentions in his life of a film it's a very very short life I mean it basically two pages and it tells us a few things about his technique it tells us a few things about about some works here's Don portunities works having survived we do not know is it we even buy him because you know Calvin manda died rotis his text something like a bit lessons hundred years after Bosch himself had died by the mid 14 70s Hieronymus Bosch was active as an artist and his earliest surviving works reveal artistic concern that would also feature in his greatest work like many of the painters of the time the young bosch turned to the bible for his subject matter as we can see with this panel illustrating the wedding feast at Cana st. John's Gospel describes the wedding feast at Cana as the setting for one of Christ's best-known miracles the turning of water into wine in Bosh's painting the welcome consequences of the miracle can be clearly seen as can the divine figure of Christ himself but this is not an overwhelmingly spiritual image a strong sense of flawed humanity revealed itself with symbolism contributing strongly to the effect Bosh's contemporaries would have immediately recognized the spitting Swan as a symbol of sexual promiscuity and the presence of the magician reminds modern viewers that many medieval folk had faith in more than just the power of Christ in 15th century Europe belief in magic was a widespread phenomenon and Bosch chose to address the subject in paintings such as the conjurer also from early in his career here we witness a scene whose message is more immediate than that of the Cana wedding a conjurer apparently produces a frog from the mouth of the man whose faith in the power of magic is comically obvious but the conjurer has no real magic powers instead he is a trickster who uses the Frog as a cunning ploy to distract attention while his accomplish picks the pocket of the mesmerised man we can still appreciate the humor of this painting because the foolishness of men did not die out with the Middle Ages many of bosses study of human folly express sentiments still relevant today although the immediate subject matter can often be obscure this small panel provides an example what is illustrated here is a bizarre medical phenomenon often referred to in medieval Dutch folklore stupidity was thought to be cured by removing the so called stone of folly from the head although the idea of the stone of folly had no scientific basis whatever many people believed in it and it is easy for us to laugh at the misplaced faith of this gullible medieval patient however we cannot be honest and claim that our own times are entirely free from strange beliefs it may be that future generations will laugh at present-day practices such as astrology or palm reading we cannot tell how our own age will come to be regarded what we can recognize is that there is a timeless element to Bosch images such as this the artist is revealing himself as a man who is undoubtedly the product of his own contemporary world but he is also outside of that world an artist who holds up a mirror to the follies of men we can therefore see Hieronymus Bosch as following in an enduring literary tradition a fool whose wisdom is ultimately greatest of all around that time there was a tradition in writing and art about the human beings all being fools there was the ship of fools by the bust implant which a Bosch probably knew it was translated into other languages it was actually published in 1494 in Basel and he himself paints a ship of fools and there you've got the fool sitting in the rigging on the whole boat is peopled by intoxicated men and woman and center stage actually are a nun and a monk so he's actually attacking you know the church in that way as well and there was also a proverb in a proverbial boat in the Netherlands because the blue board which was always peopled by everybody drunk the humor of Hieronymus Bosch is often easily understood but his widespread use of contemporary symbols is less easy for the modern viewer to appreciate we may never know what the artists intentions were when he decided to place a funnel upon the head of this bogus surgeon while the significance of the book on the nun's head is also obscure bashas regular use of arcane symbolism is a difficulty that faces the modern student of his art but it is not the only difficulty significantly Bosch chose not to date his works this means that we cannot be sure when he created images like ship of fools another highly symbolic scene of human self-indulgence and folly I think it's very difficult to actually fix the chronology and nobody's quite certain so usually his works are divided into three periods kind of loose period starting in 1474 to avoid 1485 and then to 1510 and the last one to his death in 1516 because the thing is a lot of his paintings have been over painted and there's been quite a lot of damage as well so it's quite difficult even to detect you know the technical ways of his painting quite often uses very thin paint I suppose that's one of the characteristics of his work and if we're taking it at a very simple level one can probably say in answer to the chronology that he did a very simple depiction of Hell in the seven deadly sins the tabletop and it's become much more sophisticated in the hell wing in the Garden of Earthly Delights so the one is considered to be earlier than the other if you write down the chronology proposed by Colin I buy us any other expert and compare them they make absolutely no sense they're not really within reach of each other it seems to be the tumors do a number of slightly experimental things who take the early work or what he presumed to be the early work and compare it with what was happening in the Netherlands what we knew what was happening in the Netherlands in the work of other painters and we will find that there are parallels sort of ways of constructing figures and we're dealing with perspective there are ways of distorting pictorial space which are common to a whole host of not very good painter the efforts of art historians have established how the paintings of Hieronymus Bosch evolved throughout his working life but some aspects of his art were with him from the beginning these include the Keen humor and strong symbolism that we have already seen the follies of man would also be a recurring element of his work as well as folly Bosch also concerned himself with the darker business of sin the terrible punishments that lay in store for the sinner the paintings produced from this preoccupation with sin would revolutionize the world of art forever nothing like it had ever been seen before and no artist has ever matched wash's unique vision of hell and damnation the impact of these scenes remains as strong today as ever we might call some of these horrors unimaginable were it not for the fact that Bosch had imagined them these nightmare visions are for many the greatest achievement of Hieronymus Bosch but with this visual representation of the seven deadly sins we see humor prevailing over horror created early in his career the seven deadly sins was painted in oils on a panel intended for use as a tabletop now in Madrid's Prado Museum the work is dominated by a circle whose Center represents the eye of God beholding the image or his son Jesus Christ below are the Latin words for beware beware God sees which is unfortunate for the individuals depicted in the seven major frames that comprise the outer circle all of them are engaged in sin with each frame representing a different transgression in a series of contemporary genre scenes the message of each frame is clear here anger is represented by an altercation between two men whose obvious disagreement may well have been fuelled by drink consumed in the background tavern similarly it does not take long to establish that these pleasure loving individuals are guilty of the sin of gluttony but this circle of sin strikes the modern viewer as almost quaint in character amusing rather than threatening it may be that borsch intended to evoke such a response from contemporary viewers Bush was a moralist and it was a moralist in some way obsessed by the devil the devil for him was everywhere as a since we're everywhere and this is in fact what he represented in his paintings I mean all the forms the seven deadly sins for example which is a major theme in his work these were the sins which would take you to edit without a confession I mean certainly for him that was the reality of the things and he certainly would have believed that people were punished in hell as he showed it in fact in one of his paintings would be akin to the sins that would have done during life Bosh was very much like a medieval preacher on these medieval preachers would actually tell an extortion stories funny stories to keep the attention of the congregation and in that way I think he works just on this in the same way and tells things in possibly more humorous manner but it all has a very moral purpose in the end it is only outside the center circle that the seven deadly sins reveals the sense of menace it would characterize much of Bosh's greatest work in the corners are four more circles depicting the so called four last things of man death Last Judgment heaven and the ultimate destination of the sinner hell unsurprisingly this is not a pleasant scene if sinners forced to endure punishments for the misdeeds of their lifetimes as terrible fires rage in the background though effective in the context of the overall tabletop this small image only hints at the horrors to come in the work of Hieronymus Bosch here we see another later image of the fires of hell which again provide the background for the sufferings of the Damned looking at this scene we can begin to appreciate the kind of hellscape forever associated with Bosch but we should also recognize that this is just one component of the complete work of art it forms the right-hand panel of a series of three paintings on the left is a scene of paradise by the large central panel is the whole piece it's named the Last Judgement time and again Bosch executed his work in this threefold format popular at the time the triptych the triptych is kind of well organized form of altarpiece all over Europe refined it in Poland or founded in Portugal find it in Italy and defend it in Netherlands it has the great advantage of giving you a center picture which performs the business of the altarpiece two wings which will often allow you to paint portrait of the donor or put in the donors patron saints or put in the patron saints church and then during Lent lead into Easter you close the thing and on the back of the panels you'll get usual in Greece I in pen Twitch's gray and tonality gears backed white wood are great white figures which again have some relevance either to the donors or the church but are without color in other words it's Samba reflects mood of Lent and it shots where the great glory of the center the great glory of the center isn't necessarily painted it would be carved Tilghman riemann schneider in germany came wonderful great colored order peace and who simply shot it where with wings then Easter comes who draped it with black cloth you will spend all 24 hours celebrating Tenebrae on your knees with all windows darkened and then you'll celebrate the central Christ the resurrection of Christ I the doors everything is back to normal and there is there is a great theatrical thrill about this think of it in terms of of opening up the life of windows of inserts bells and singing and you get the theatre of the truck and that's why the triptych is the perfect form or she stripped itches are undoubtedly his best-known works the left-to-right journey from heaven to hell and be seen in many of them in this series entitled the hay Wain the central panel again presents us with a scene whose subject matter appears innocent enough at first the procession of a cart of hay the scene is bright with blues and especially Pink's read ating their use in the most famous bot of all the Garden of Earthly Delights we can also see a pleasant rolling landscape providing the background to a scene of apparent frivolity but this is an image loaded with visual symbols that would have been well understood in Bosh's time Dutch folklore saw hey both as a symbol of man's pursuit of wealth and the sinful follies that this pursuit entailed the owl would also have been recognized as a symbol of heresy while the VARs referred to female promiscuity but modern audiences can also share the sense of ungodliness that Bosch sought to convey what is actually pulling the hay way whatever they are they are not creatures created by God and what is the destination of his highly symbolic procession the right panel of the triptych reveals the terrible truth it is a place whose existence may be doubted by many today but whose terrifying reality was fully accepted in medieval times we are now in Hell itself he concentrated on headed because his paintings are warning their warning to humanity not to take that way and this is in fact how his paintings were seen throughout the medieval period it was impossible for the peasantry and the working classes slightly different and the middle classes to exist without having a constant awareness of the imminence of death there were no doctors speaker there were only rudimentary remedies for any kind of illness and something quite simple like needle measles or scarlet fever would carry law that was hunger scurvy or teeth fella the average age of people was at the time of death was much earlier than than it is now it was common for people to get married at the age of 14 have children at once and be dead by the time they were 24 a short life not very Merry one they died of cold they died hunger they died of scurvy all kinds of deprivation and so if you look at medieval life and you live look at the history of famine in many times right across Europe you realize that death was always there you will have an allegorical things like the dances of death early form of illustration continuing well internet styles the warning constantly the death awaits you whatever you do you're the young or the older male female you're sleeping you're eating whatever you're doing death is always in to shoulder with death there is judgment there is hell there's purgatory and there is heaven and with with a stroke of luck and so it was world of angels and devils all the time images such as these remind us that the medieval mindset conceived of a tangible physical hell of eternal physical suffering many modern Christians place less emphasis on the reality of Hell choosing instead to define it philosophically as the absence of God but if we were to imagine a real hell we would surely conjure up a scene similar to this it is not just the smoke and the fire and the physical suffering that makes this a fearful place it is the site of unfathomable creatures whose existence is as real as that of the unfortunate humans depicted here grotesque creatures are one of the most striking features of bashas work as we can see in the terrifying central panel of the Last Judgement triptych Bosch surely appreciated that it is the unknown that we fear most and no one on earth can ever have witnessed creatures like these terrible hybrids of man and beast more unsettling still is the fusion of the animate and the inanimate as we can see with this surreal knife creature advancing purposefully in the bottom right of the panel it is this sense of purpose that for many is the greatest artistic achievement of this horrifying scene this is a world where purpose and agency are undoubtedly present the monsters that we see here have objectives which do not appear out of place given the context that Bosch has created this is a world with its own internal order of things an order we cannot fathom other than with reference to the obvious human suffering it is this totality of vision that makes the Last Judgement a disturbing image even for those who consider the idea of Hell absurd it is unsurprising that many modern critics believe that Bosch must have been inspired by some kind of hallucinogenic stimulant well I think actually it was necessary for Bosch because again there were so many of these fantastic monsters and Devils around in the medieval world or through the medieval world and so he got inspiration from the margins of manuscripts from you know all the churches from the sculptures and also carvings of misery cords and even the literature there was a lot of mystic literature which was full of monstrous creations and symbols as well people have looked at Bosch in different ways I mean some people have you know claimed he used hallucinogenic drugs some other people said that his work had a kind of eye chemical meaning and astrological meaning and so on they may be illusions obviously to a storage in his work so there may be a figure which is akin to an astrological tradition but that's not what his work is about his work his first religious secondly more and then obviously what makes it so great is the artists invention when possibly because he didn't have so many formulas to follow he had to invent them he had to be creative and this makes him one of the most interesting artists of his time we may never know for sure whether Bosh's artistic vision was stimulated by an altered state of consciousness but we can be certain that the actual execution of his work was painstaking as that of any other great painter of history his surviving drawings prove that there was nothing slack or random about the detail of his paintings this weird figure is known as the tree man an incomprehensible being was completed form we can see in the most famous of all Bosh's works this is another image of hell which forms the right panel of another remarkable triptych the Garden of Earthly Delights it is likely that Bosch was in his early 50s when he painted this extraordinary work of art which remains a defining image of the late Middle Ages the central panel may be best known today but the adjoining scenes of paradise and hell are scarcely less impressive again the three panels take us on a left-to-right journey and the paradise of the creation to the fires of damnation via an outdoor scene of feverish activity the Garden of Earthly Delights itself it is an entirely appropriate name in the center of the panel we see naked women bathing in an exotic garden pond encircled by men riding a huge variety of animals behind them we can see fantastic waterside constructions in pink and blue while the left middle ground is notable for a collection of birds of disproportionate size it requires time to take in fully the sheer amount of activity happening here as with many of bashas works this is an image heavy with symbolism again much of the hidden meaning may be lost on the modern viewer but it is not difficult to realize that the artist is dealing once again with the business of sin specifically the sin of lust some detailed of the panel display this more or less overtly elsewhere Bosch uses symbolism to make his message clear birds fruit and other devices have been identified as symbols of physical sexuality the whole idea of a garden of love was derived from a well-established folk tradition and this is a painting for which a knowledge of contemporary folklore adds immeasurably to our appreciation of the work although the garden of delights is heavy with symbolic meaning that may be obscure today the ultimately bleak message of the triptych can be readily understood the sinfulness of the central panel leads directly to the hell of the panel on the right here once more it is the sheer imaginative power of the artist that makes the horror effective looking closely at the detail here it is difficult not to imagine some kind of hallucinogenic inspiration when the I traveled over the two square meters of this one painting it is a journey that requires many pauses to take in the scope of Bosh's imagination the hideous ears with their terrifying blade the harp transformed into a terrible instrument of torture the lantern that has become a furnace horrifying details that are themselves detailed if we look at the bird figure to the bottom right we see that he is swallowing the Damned only to excrete them into a hole in the ground though horrifying we may just be able to imagine such a hellish scene ourselves but this is not all we see and many of the smaller details simply defy explanation why is a human posterior excreting coined into the whole why is the bird creature wearing a cauldron on its head why are the ends of his humanoid legs shod with wine jars again Bosch may have had symbolic meanings in mind but even if he did it is not essential for us to be aware of them instead we can see these features as components of a contingent imaginary world whose diabolic Menace arrives from its unfathomable nature quite literally the devil is in the detail the purpose of visual art is not to provide answers to the difficulties faced by mankind and the Garden of Earthly Delights makes no attempt to do so other than perhaps to shock the would-be sinner into a life of Christian virtue Borgias own faith is one of the few facts that have survived concerning his life the match of the work of his later career was religious in nature it is tempting to see this body of work as a spiritual counter to the horrors of his better known art we know that Bosch first used biblical subject matter in the early years of his career this image of the Epiphany or adoration of the Magi may date from as early as 1475 by contrast the second version of the same subject could have been created some 40 years later in the last period of the artists life here we again see the often obscure details that characterize Bosh's work but this is a very different kind of work from the famous hell escapes it is almost a relief to consider quietly the visitation to the infant Jesus and admire one of the less widely appreciated aspects of Bosh's art his mastery of landscape the seems to me to be a concerted attempt by large number of scholars both to make him something that he was not one of these is a major penta of landscape I find it very difficult to believe that a new school of landscape painting developed out of bosch's paintings and too few people saw them too few people realize that there was a landscape element that was worth looking at too many of his pictures have entirely schematic landscapes which have no relevance to the history of landscape painting they have had some relevance in the history of invention but not of observation he's entirely different from Broyhill who is really significant push her on to her business glance get paid I have no doubt that he went and sat in the opener and drew trees he may even have painted trees there are wonderful trees and in late painting lacks in doubt in it which which didn't come out of his head which didn't come out of observation but in general I don't think he's at all significant and and pushing pattern are on to him as on impossible without him seems to me to be nonsense we can still appreciate Bosh's skills as a landscape asti's religious work here we cease and Kristopher carrying the infant Jesus against a wooded landscape stretching back into the hills much of Bosh's later work depicts events from the lives of the saints often incorporating trademark symbolism to express these events visually as elsewhere much of this symbolism may not be immediately meaningful to the modern viewer but with this image of st. John the Baptist in the wilderness the identity of this creature as the Lamb of God is clear many of Bosh's religious paintings dealt with the subject of Saints in the wilderness exposed to the temptations of the devil few artists can ever have been better qualified for the task images such as these gave Bosch the opportunity to demonstrate his skills as a landscape estándares mastery of narrative much of this symbolism deployed may now be arcane and there is no doubt that the lives of the saints were better known in the 16th century than they are today but we can still appreciate the idea of the isolated Christian drift in a perplexing world with only faith to sustain him one such individual was sent Anthony an early believer who passed most of his days in the deserts of Egypt living as a hermit according to his hagiography anton his privations included being beaten unconscious by devilled in the tomb he used as a prayer house he was also tempted by the devil in the form of a great Queen was apparent benevolence and goodness was eventually revealed as the deceit of Satan both these narrative details can be seen in Bosh's triptych entitled the temptation ascent Anthony but this late work gives the viewer more than just the narrative the theme of temptation by the devil allowed the artist to give full expression to the fantastic notably in the middle panel where we see the Saint beside the tomb surrounded by monstrous figures as the fires of hell rage once more in the background as with earlier works the temptation of sin tantony rewards the viewer prepared to explore the details incorporated into the scene the wine jar turned into a pig-like creature is an especially memorable example but the scent and any trip tidge is perhaps best appreciated in its entirety it is amongst the best preserved of all Bosh's works and amongst the most technically accomplished of his career the sense of temptation faced by the saint is expressed by the vividness of Bosh's colors the lure of the devil must be dazzling otherwise there is little achievement in renouncing it in artistic terms we can also see here Bosh's mastery of arrangement and of light the tree scape to the right of the burning town is as unsettling in its silent simplicity as other more immediately horrifying details in simple terms the temptation of sant antoni is a mature work by an artist who had now reached the peak of his powers the temptation of sant antoni may represent Bosh's finest technical achievement but it remains primarily an expression of faith one of the most remarkable details in any painting by Bosch can be seen within the tomb behind sant antoni there can be no doubting this eternal image it is Christ himself on the cross the figure is so small but first time viewers of the work can fail to notice it at all but once we become aware of its presence it comes to inform the entire work with the Christian message of salvation Christ would be the subject matter for most of the paintings that survive from the final years of Bosh's life though as we have seen his earlier work includes also scenes from the life of Jesus ek homo or behold the man takes us back to the theme of folly here we see the moment when Jesus is condemned by Pontius Pilate the Roman governor who is only carrying out the wishes of the mob the suffering of Christ is masterfully rendered we can clearly see the consequences of his scourging but it is Christ's tormentors who are perhaps the real subject matter here they are totally wrapped up in their own earthly existence we can imagine that for these individuals this is just an ordinary typical day they have no idea at all of the real significance of their actions this is the moment when Christ is most isolated surrounded by folly with only a terrible death to come it is hardly surprising that the images of Jesus painted by Bosch concentrate on these final moments of the Savior's life the events of the passion Bosch painted the passion but the passion is the main subject of Christian imagery so it is nothing really surprising in it I mean they are scenes which were chosen and codified there were devotions which were linked to the sufferings of Christ know again his interest in the passion is a very traditional one I think because with the passion you could show Christ's suffering at the hands of these human sinners to much greater extent and it's very much in line with a movement which was very popular in the 15th century called the modern devotion and that movement taught meditation on the suffering of Christ contemplation and also imitation and so the sacrifice of Christ by you know meditating on it and concentrating on it would show up what Christ as she did for the redemption of humankind surviving works by Bosch tell the familiar story of the final hours of Jesus Christ right up to the moment of his death the finest of these can be considered the artists final masterpiece christ carrying the cross here the folly of the mob can again be seen but there is a far greater sense of gloating in the faces of these individuals than in the earlier eka homo they have got their wish now Jesus is soon to die a terrible death they are savoring the moment the two criminals also condemned to die are not spared their malice one of them appears to have some spirit of resistance left but the other is now completely broken and resigned to his fate but it is Christ himself that represents bashas greatest achievement here eyes closed he is somehow apart from the chaos around him for Christians this is entirely appropriate the person of Jesus has human and divine elements and Bosch somehow captures both in his representations of the Christ figure Christians also believe that Jesus triumphed over the folly of men with the achievement of his resurrection but this is an image whose overall sense of pessimism cannot be denied it is unfortunate that we have no record of the thoughts and beliefs of the artist who created it with Bosch I think we have absolutely no idea how his mind work works we have no idea what kind of man he was at all he may he may have been almost anything he may have been and I suspect I mean if you have if you force me into a corner and say what do you think he was like my inclination is said that in order to paint what he did and not be not caused outrage he must have been extremely devout in his observances he must have been a religious and not a bitter and twisted old man whom everybody disliked he must have been deeply respected who suggests me that he was he was serious in all his endeavors and that his personality whatever it was is not loud come through hieronymus bosch the man will probably remain a mystery forever but his work is amongst the most recognizable of all Western art by the time of his death in August 1516 his achievements were undeniable and the following decades saw his work become the best known on any artists of the Netherlands Center is later his work proved inspirational to the Surrealists and much of his work remains as relevant today as it has ever been but in artistic terms the work of Hieronymus Bosch would most strongly influence the work of a painter born in the decade after his death Pieter Bruegel the elder the second of the Dutch masters

Channel: artandfilm21

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Keywords: brian sewell, Hieronymus Bosch, Renaissance, painting, netherlands, the garden of earthly delights, art documentary, art, art critic, Brian Sewell (TV Actor), London Evening Standard, brian bodonde, facejacker, Bosch, Hell, Hieronymus Bosch Art Documentary, Brian Sewell Documentary, apocalyptic, medieval, apocalypse, artfilm21, art21, schooloflife, school of life, art school

Id: UOXiq7DAZwQ

Length: 48min 8sec (2888 seconds)

Published: Mon Oct 12 2015