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The Garden of Earthly Delights is a triptych oil painting on oak panels, painted around the 1490's to 1910's by Hieronymus Bosch as an interpretation of human life from start to end.

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In this panel we can see the depiction of the joining of Adam and Eve, this is a religious interpretation of the last day of the creation story. At the front part we can see that Bosch uses warm colors to put emphasis on his subjects mainly Adam, Eve, God, and the center piece tower, as to provide depth he uses warm colors for near subjects and cool for the even farther landscape

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We can see that the pond nearby is dark and filled with shadow, he uses this as to hint at the dark future that is about to come. He uses the scale as to put the humans upfront and not in the middle considering that it is emphasizing the beginning of life, we can see the contrast of water to the garden to create a balance as to how he plays the landscape, he uses the blue tone for the farther ends so that he can darken the details, this is because having black will completely over power the painting in itself, the colors used at the first panel is a light color.

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We can see the element of value in the glass details he uses for the alchemical vials and beakers. He uses white as to signify the reflection of light on the glass.

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We can see that in this center panel Bosch puts more bright and strange colors to emphasis the many subjects in this portion of the painting, humans and their sinful ways are thriving. Mainly the painting shows lust to interpret the reproduction of humans and how their sinful ways multiply. Still we can see how he uses the color blue to signify the depth of the painting and how there is a balance in the painting because of the scattered subjects. The lines used to create the many different strange shapes seen in the center piece tower (Fountain of Life) from the beginning it is now seen with a sphere shape. Rhythm is seen in the animals moving in a circular motion around the fountain as to create movement.

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In detail we can also see that the cracks are sometimes in black and white depending in the surface whether stone or glass, the lines and values form this texture of a crack.

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We can see here that the main color of the panel is black signifying the dark future of humans as they continue to sin, death is very evident in this portion of the painting as to contrast to the other panels which have so much life. Bosch's plays with white as he uses the foggy effect for depth in the farther background of this panel. Most subjects are put on emphasis due to the light colors he uses (White, Pink, Skin tone, Green, and Blue) There are light colors in the background as to signify and brighten the ruins all around. Most of the humans are seen in the color grey as to signify corruptness and sin. Bosch did a good job in using color, lines, values, harmony to create a perfect progression in his storyline.

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The left panel shows God having made Eve out of one of Adam's ribs, taken as he slept. God presents his creation to Adam, who has just woken up. They are in the Garden of Eden, but the pool before them is full of dark, slithering creatures, hinting at a dark future. The biblical image of Paradise being an enchanted garden is given a complete make-over by Bosch. Instead of fruit trees, Bosch's Garden of Eden is full of real and imaginary creatures, lush meadows, anthropomorphic rocks, bizarre colored rocky outcrops and strange pod-like objects.

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The name of the triptych comes from the garden in this central panel, which features cavorting nudes, giant birds, oversized fruit and several strange objects or contraptions. In the background is the Fountain of Flesh, where naked women seduce male riders who circle around them. It is the sinful counterpart to the Fountain of Life in the Garden of Eden. In general, the panel depicts mankind engaged in a range of depraved activities, all of which are clearly deemed sinful by the artist, who shows (in the right-hand panel) that they lead to the torments of hell. Symbolism is everywhere.

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Huge crowds can be seen marching endlessly. In the middle painting, Bosch has painted a mocking self-portrait, in the guise of a man/tree whose arms/roots are set in two boats. The hollow torso contains a sort of hellish tavern. On his head is a rotating platform with a bagpipe - a symbol of evil and lust. Two enormous ears on the left are pierced by an arrow and cut by the blade of a knife. The contraption symbolizes Man's deafness to the New Testament exhortation: "If any man have ears to listen, let him hear." In the bottom part, the guilty are confronted by their sins. Thus personifications of the Seven Deadly Sins are made to suffer. The vain woman is doomed to stare for eternity at her reflection in a demon's rump; a glutton is forced to vomit into a pit; a miser is forced to excrete gold coins into a cesspool. Various musicians are tortured on gigantic versions of their instruments. Similarly, a hunter is stabbed by a hare, while another is eaten by his own hounds. Neither beauty nor warmth are on show anywhere in this panel: a tone which reflects Bosch's chilling view, that the guilty who have succumbed to the temptations of the devil must reap eternal damnation.

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Details from Bosch's Garden of Earthly Delights (ca. 1500). (2018, August 9). Retrieved from https://publicdomainreview.org/collections/details-from-boschs-garden-ca-1500/.

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Bosch, The Garden of Earthly Delights. (n.d.). Retrieved from https://www.khanacademy.org/humanities/renaissance-reformation/northern/hieronymus-bosch/a/bosch-the-garden-of-earthly-delights.