Academic literature on the topic 'Isenheim Altar (Grünewald, Matthias)'

Das traditionelle christliche Bild des Täufers ist geprägt durch religiöse Volkskunde und Feömmigkeitsgeschichte, die aufgrund der unseligen ‘Zergegnung’ zwischen Christen und Juden durch die Jahrhunderte hindurch bis zum Holocaust von antijüdischen Stereotypen bestimmt sind. Je ausgeprägter die Christologie, um so unmiβverständlicher ist die theologische Degradierung oder Enterbung in Form der Vereinnahmung, etwa wenn man Johannes den Täufer aufgrund von Mt 11.11 (‘Amen, das sage ich euch: Unter alien, die von einer Frau geboren sind, trat keiner auf, der gröβer ist als Johannes der Täufer’) als ersten überregionalen Heiligen der christlichen Kirche in Ost und West verehrte. Oder: Wer erinnert sich nicht an den Johannes auf dem Isenheimer Altar des Matthias Grünewald, wo der langgestreckte Zeigefinger des Täufers überdeutlich seine heilsgeschichtlich-hinweisende, unter-geordnete Rolle festlegt.

Abstract Without the contemplation of the Isenheim Altar, Karl Barth would not have achieved a certain theological breakthrough in this radical and precise manner. It can be assumed that his theological linguistic doctrine for the turn from the first to the second version of the Commentary on the Letter to the Romans was promoted by the pictorial contemplation of the Isenheim Altar (caused by the disappointment about his theological teachers). The thesis is that Barth presented his theological metaphor of the ›death line‹ (17 October 1920) in derivation of the ›death wall‹ (17 April 1920) of the closed representation of the altar, which had previously been viewed by Grünewald, so that Barths with his Grünewald reception also and decisively initiated and carried out his theological reorientation.

Abstract Art historical literature has often discussed the impact of painting restorations on viewers. Although many theoretical hypotheses have been proposed regarding the effect of restoration on the beholder’s eye, little empirical research has addressed this topic. This study aimed to fill this gap by investigating whether painting restoration has a meaningful influence on the visual perception of art viewers at the eye-movement level. Specifically, the study designed a mobile eye-tracking study in an ecologically valid setting — the art museum — to investigate the effects of restoration on ten panels from the Isenheim Altarpiece (1512–1516) by Matthias Grünewald, currently displayed at the Unterlinden Museum in France. In this study, 86 museum visitors looked at paintings while wearing eye-tracking glasses before () and after () restoration. The following measures were analyzed: (1) Total Viewing Time; (2) Duration of the First Fixation; (3) Relative Fixation Count; (4) Fixation Heat Maps; (5) Time to First Fixation in areas of interest (AOIs). The results suggested that Relative Fixation Count significantly increased after restoration. Conversely, the Total Viewing Time and Duration of the First Fixation did not seem to be significantly affected by restoration. The Heat Maps suggested a broader visual inspection of the images and a more explorative gaze pattern after restoration. Moreover, the Time to First Fixation in AOIs significantly decreased after restoration. These findings provide the first empirical evidence of the impact of restoration on the visual perception of genuine paintings as opposed to reproductions observed in a museum.

This thesis explores the relationship of the Sermo Angelicus of St. Birgitta of Sweden, written in the fourteenth century, with the Nativity/Concert of Angels panel of the Isenheim Altarpiece, painted by Matthias Grunewald in 1514 for a hospital and monastery run by the Antonite Order. Taking into consideration the context of the altarpiece, this thesis analyzes its iconography in relation to specific passages from the Sermo Angelicus, suggesting that the text was a possible source used by the Antonites in the Nativity/Concert of Angels panel. By doing so, parallel themes of salvation in both the text and the panel are discovered that in turn relate to the altarpiece in its entirety and present a message fashioned specifically for those patients at the hospital at Isenheim that viewed the altarpiece.

While little is known concerning the events surrounding the commission of the Isenheim Altarpiece or of the artist known to us as Master Matthias Grünewald, much can be ascertained about the message of the Altarpiece through careful study of the socio-historical-religious context from which the work was commissioned and iconographic analysis of the images portrayed by Master Matthias. This thesis explores iconographic metaphors for birth and sacrifice, metaphors which work to create a theological dialogue about Christian redemption within the nine painted panels and the underlying sculpture that makes up the Isenheim Altarpiece. First, we will address the panels in the middle position of the Isenheim Altarpiece, which reveals events from the life of Mary. Since the Madonna is a prominent figure in the Altarpiece panels, understanding her role in sixteenth century Christian theology as birth mother of the Savior and as an especial example of bringing forth good fruit by virtue of obedience and humility is crucial to understanding the Marian iconography of the panels. In the center of the triptych, immediately following the Annunciation panel in the middle position, we see a celebration of Christ's birth in the Concert of Angels panel. When replaced by the folded wings depicting the Crucifixion, the Concert of Angels panel creates a discussion of rebirth through the sacrifice and death of the Savior which is symbolized by the Resurrection displayed in the final panel of the middle position. Through the use of iconographic devices which reference different panels within the Altarpiece, Grünewald creates a dialogue of redemption and rebirth through Jesus' mortal birth mother, the Virgin Mary. This dialogue extends to images of saints and disciples who find spiritual rebirth through conversation and help to build the kingdom of God on earth through their exemplary lives. Even the faithful followers of Christ numbered in the audience of the Isenheim Altarpiece are given a role in the dialogue of rebirth through conversion by bearing virtue, rather than vice, in the attitude of Mary and the saints.

Using the Bible as inspiration for paintings was popular during the Middle Ages. External factors also influenced the artists’ life. Matthias Grünewald is one of the artists inspired by the Bible and external factors. This study attempts to determine what possible sources the painter, Matthias Grünewald,used for the painting of the crucifixion scene of the Isenheim altar. It will also look at the life and works of Matthias Grünewald. Matthias Grünewald's life is as much a mystery as William Shakespeare's life. There are few records of his life available and he used his wife's maiden name. Many of his works have been mistaken for the works of Albrecht Dürer. There are two people whose influence can be clearly seen in his works, namely Martin Luther and St Bridget of Sweden. The Isenheim altar piece is seen as one of his most famous works. The Isenheim altar piece was painted as a means of encouragement for the monastery of St Anthony whose patients suffered many skin diseases. Many of these patients were illiterate and, as they could not read, this painting was an attempt to encourage the patients. The crucified Jesus is portrayed in a very gruesome way. Grünewald did not attempt to make it more appealing for people to look at because it would not have been suitable in their situation. The disease in the painting is associated with a disease called ergotism. Ergotism is a disease that,due to ignorance,led to many people dying a horrible death. Their limbs fell off and for some people it felt like they were being burnt alive. Based on comparisons between the different Gospels, it can be said fairly safely that the Gospel of John was used as the source for the painting of the crucifixion scene. There is symbolism present in the painting that is only available in the Gospel of John, for example: the Gospel of John is the only Gospel that speaks of the Lamb of God and that Jesus bowed His head before he died.
Dissertation (MA)--University of Pretoria, 2015.
Biblical and Religious Studies
MA
Unrestricted