The Fall of the Damned (Dutch: De Val van de verdoemden) is an oil on panel painting by the Early Netherlandish painter Dieric Bouts, completed in 1470. It was produced as the rightmost section of a triptych of a Last Judgment scene commissioned for the town hall of Louvain, Belgium, in 1468.

According to Carel van Mander, Dirck (Dieric or Thierry) Bouts was born in Haarlem. The date of birth is not known, though circumstantial evidence points to the time between 1415 and 1420.

Oct 10, 2021 · Dirk Bouts' painting "Fall of the Damned" is a masterful conjuring of hell. Post contains extreme details.

Oct 17, 2021 · ‘Hell’ was created in 1450 by Dirk Bouts in Northern Renaissance style. Find more prominent pieces of religious painting at Wikiart.org – best visual art database.

Dieric Bouts (born c. 1415, Haarlem, Holland [now in the Netherlands]—died May 6, 1475, Louvain, Brabant [now Leuven, Belgium]) was a northern Netherlandish painter who, while lacking the grace of expression and intellectual depth of his contemporaries Rogier van der Weyden and Jan van Eyck, was an accomplished master.

Aug 21, 2015 · 在布茨（Thierry Bouts)的《地狱》中，它们是锐鸣枭，其身体是蟾蜍和赤裸的罪人的结合；在洛赫纳（Stephen Lochner）的作品中，它们展翅的猫头昆虫，人面甲虫以及煽动着如同不安而贪婪的双手的翅膀的鸟。

Typical for Bouts are the elongated form of the head, and the finely articulated features of the face with almond-shaped eyes, sharply defined nose, and pale thin lips. Bouts paid special attention to the tendrils of hair peeking out from beneath the hat, the bushy eyebrows, and hints of an emerging beard.

Dieric Bouts the Elder at Olga's Gallery. One of the largest collections of paintings online. Featuring hundreds of artists and thousands of works. Large, high-quality images. Biographies, historical commentary, religious and mythological notes.

Dec 24, 2012 · The exhibition opens with images of hell and heaven, though, in fact, both are unsettling in their own ways. To a believer, Thierry Bouts’ The Fall of the Damned might be truly terrifying. Demons are unleashed upon the writhing bodies of sinners, biting off heads, gnawing limbs and seeking sexual congress with the female damned while raising ...

In this solemn and dignified masterpiece the painter achieved spiritual grandeur in the context of convincing physical reality. The central panel of the altarpiece is the most emphatically significant treatment of the theme of the Last Supper in Northern European art.