Abstract
If in Hieronymus Bosch’s (1453-‐‑1516) hybrids and metamorphosis Marosa di Giorgio (1932-‐‑2004) absorbs the most symbolic and disturbing aspects of his “maravilloso negro”, in the same flamish painter Amanda Berenguer (1921-‐‑2010) finds the inspiration for a subversive discourse. Writings and images enlighten and strengthen each other while the two extraordinary texts of uruguayan literature (Papeles salvajes and Los culos de El Bosco) intertwine and converse with triptych of The Garden of Earthly Delights, thus participating in its own complex exegesis.
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