75
Slant Magazine by Clayton Dillard
It highlights how the ownership of art serves as a marker of capital for distinguishing one institution over another.
What are people saying?
What are critics saying?
60
The most fascinating moments in Hieronymous Bosch come from art historians once they’ve turned to the work of history: creating meaning and context, wrestling with these questions. The film renders this conversation beautifully, and in moments begins to feel urgent in spite of itself.
63
New York Post by Farran Smith Nehme
Much time is spent on inter-museum wrangling, and the personalities aren’t vivid enough (as they were in “The New Rijksmuseum”) to build tension. The interest lies in the close look at the strange vision of this great artist.
50
Los Angeles Times by Gary Goldstein
Deeper socio-historical context and a more electric approach could have helped us better appreciate the far-flung impact of this visionary artist.
70
The Hollywood Reporter by John DeFore
Though too inside-baseball for many casual art fans, it should find some takers in its nationwide tour of bookings at art houses and museums.
75
The Globe and Mail (Toronto) by Kate Taylor
Unfortunately, the actual confrontations this project must have caused happen off camera, but the story of a determined quest is always enlivened by insights into the clawing animals, bizarre monsters and sinful humans that populate Bosch’s fantastical visions.
75
Of course what’s most interesting of all is the art. Huystee’s many closeups and slow pans over Bosch’s teeming backgrounds are transfixing, unsettling, and a rare privilege.
70
Hieronymus Bosch: Touched by the Devil brings us literally closer to Bosch’s images than one could probably get in almost any museum. As directed by Pieter van Huystee, the film offers a true immersion in his artistry. But it’s also a little slipshod — an off-kilter window into the politics of the art world. It’s like a fascinating magazine feature with some missing pieces.
67
Christian Science Monitor by Peter Rainer
I will never be comfortable with the concept of Bosch as charming prankster. Just one look at the paintings will cure you of that notion.
60
The New York Times by Stephen Holden
The movie comes alive only when the camera lingers over the actual paintings and allows their power to speak for itself.