The picture shows a detail of the right wing which represents the Musicians' Level (after Fraenger).
In the Hell the normal relationships of the world are turned upside down. This is dramatically conveyed in the innocuous everyday objects which have swollen to monstrous proportions and serve as instruments of torture. One nude figure is attached by devils to the neck of a lute; another is helplessly entangled in the strings of a harp.
Several huge musical instruments figure prominently in Bosch's conception of hell. They are shaped similarly to the ones used at that time, but their positioning is unrealistic (for example, a harp grows out of a lute). Their relationship to each other bears strongly fanciful elements, and they have been adapted in form. What is more, the use of these instruments is wholly fantastic. There is a human figure stretched across the strings of a harp; another writhes around the neck of a flute, intertwined with a snake; a third peers out of a drum equipped with bird-like feet, the next one plays triangle while reaching out from a hurdy-gurdy, and even the smoking trumpet displays an outstretched human arm. It is difficult to conceive that the group of damned souls would sing a hymn from the musical score fixed to the reverse of the reclining figure in front of them - although this has been proposed by some scholars. The ensemble, lead by an infernal monster, could more likely be a parody.
In October 1888, Gauguin went to Arles on Vincent van Gogh's invitation, to try and build up an artists' community which van Gogh had long dreamed to create. Gauguin arrived on October 20. By December 25, all hopes had vanished, all plans were annihilated. There was the often told tragedy, van Gogh's abortive murderous attempt, when he slashed his own ear. Gauguin fled without ever seeing again his tempestuous friend, who was always to feel bitter about this.
Gauguin painted the unflattering portrait of van Gogh during his stay at Arles. In this painting Gauguin has once again adopted the high viewpoint he had used in Still-Life with Three Puppies, which allows him to flatten the subject and treat it with the cloisonné style he had formulated in Brittany with Bernard. The subject, in particular the background, is treated as a configuration of flat colours, each compartmentalized and simplified, as in the enamel work from which. the style derived its name.
This painting and its pendant represent a prosperous young Haarlem couple in their Sunday best. The man and the woman look at the artist very differently: she directly, he with an evasive, rakish tilt.
In this painting on the wall of the church of San Rocco, depicting the story of the healer saint's visit to the lazar house, the preoccupations of assistance combine with hospital propaganda at the scuola Grande di San Rocco. It is a breathtaking interpretation of an astonishing court of miracles.