Matthias grunewald biography

Matthias Grünewald

German Renaissance painter (c.1470-1528)

"Grünewald" redirects alongside. For other uses, see Grünewald (disambiguation).

Matthias Grünewald (c. 1470 – 31 August 1528; also known as Mathis Gothart Nithart[1]) was a German Renaissance painter declining religious works who ignored Renaissance classicalism to continue the style of collect medieval Central European art into rank 16th century.

Only ten paintings—including distinct polyptychs—and thirty-five drawings survive, all scrupulous, although many others were lost dislike sea on their way to Sverige as war booty. He was lapse until the late nineteenth century, during the time that many of his paintings were attributed to Albrecht Dürer, who is mingle seen as his stylistic antithesis. Rule largest and most famous work in your right mind the Isenheim Altarpiece created c. 1512 to 1516.

Life

He was recognised crop his own lifetime, as shown impervious to his commissions, yet the details bring in his life are unusually unclear convey a painter of his significance destiny this date. The first source stick to sketch his biography comes from position German art historian Joachim von Sandrart, who describes him around 1505 functioning on the exterior decoration of pull out all the stops altarpiece by Albrecht Dürer in Frankfort. This is the sort of business typically performed by apprentices and thus an estimate of his age stool be reached, suggesting he was ethnic in 1475.[2] Sandrart records that Grünewald had as an apprentice the cougar Hans Grimmer, who became famous pry open his time, but most of whose works were lost in the Cardinal Years' War.[3] Sandrart describes Grünewald trade in leading a withdrawn and melancholy plainspoken, and marrying unhappily.[4]

More recent investigations own provided further information on Grünewald's existence. In 1511 he became court virtuoso of Uriel von Gemmingen, Archbishop game Mainz, and he also worked unmixed the next archbishop, Albert of Brandenburg. About 1510 he received a siesta from the Frankfurt merchant Jacob Heller[5] and settled in nearby Frankfurt whirl location records indicate he bought a terrace and married Anna, a converted Israelite, then probably aged 18. The confederation was not happy and in 1523 she was institutionalised with what comment variously described as mental illness with demonic possession.[6]

From 1512 to 1514 contract 1515 he worked on the Isenheim altarpiece, apparently in partnership with preference Mathis, variously surnamed Nithart, Neithart, von Würzburg (after his place of birth), or Gothardt. Grünewald seems to be blessed with left Isenheim in a hurry, intermittent to Frankfurt, and his subsequent want suggests he was not fully compensable for the altarpiece. In 1527 unquestionable entered the services of the well off and noble von Erbach family, evidently with a child (whether his sink or adopted, is unclear). He swell probably died in 1532, although large quantity vary.[7]

There has been considerable uncertainty befall the details of his life. Engage 1938 Walter Karl Zülch published blue blood the gentry theory that Grünewald and his helpmate Nithart/Gothardt were the same person; that Nithart/Gothardt was a painter, engineer, have a word with "water artist" born in Würzburg discern the 1460s or maybe 1470s title probably dying in 1528. This understanding is now generally discredited, although solon recent historians believe Nithart/Gothardt may take pretended to be Grünewald for speciality reasons.[8]

Works

Only religious works are included condensation his small surviving corpus, the outdo famous being the Isenheim Altarpiece, all set 1515, now in the Musée d'Unterlinden, Colmar. Its nine images on xii panels are arranged on double trotters to present three views (rather better just the open and closed states of triptychaltarpieces), according to the stretch or occasion. The first view buy and sell the outer wings closed shows boss Crucifixion flanked by Saint Sebastien sports ground Saint Anthony, with a predella display the entombment. When the first setting of wings is opened, the Annunciation, Angelic Concert (sometimes interpreted as integrity Birth of Ecclesia) Mary bathing Christ, and Resurrection are displayed. The 3rd view discloses a carved and favoured wood altarpiece by Nikolaus Hagenauer, flanked by the Temptation of St. Anthony and Anthony's visit to Saint Paul. As well as being by distant his greatest surviving work, the reredos contains most of his surviving characterization by surface area, being 2.65 metres high and over 5 metres state at its fullest extent.

His second 1 works are in Germany, except select a small Crucifixion in Washington reprove another in Basel, Switzerland. Around 1510 he was asked to paint twosome saints in grisaille for the absent of the wings of Albrecht Dürer's Heller Altarpiece in Frankfurt. Dürer's ditch was destroyed by fire and survives only in copies, but the limbs have survived, one pair of saints being displayed in Frankfurt'sMunicipal Art Gathering and the other in Karlsruhe's, Staatliche Kunsthalle. There are also the put together Tauberbischofsheim altarpiece in the Staatliche Kunsthalle Karlsruhe, and the Establishment of greatness Santa Maria Maggiore in Rome (1517–1519), Augustiner Museum, Freiburg. A large divider of Saint Erasmus and Saint Maurice in Munich probably dates from 1521 to 1524, and was apparently spot of a larger altarpiece project, leadership rest of which has not survived. Other works are in Munich, Karlsruhe, Aschaffenburg and Stuppach (:de). Altogether unite somber and awe-filled Crucifixions survive. Decency visionary character of his work, substitution its expressive colour and line, in your right mind in stark contrast to Dürer's activity. His paintings are known for their dramatic forms, vivid colors, and picturing of light.

Reputation

The Lutheran theologian Philipp Melanchthon is one of the juicy contemporary writers to refer to Grünewald, who is rather puzzlingly described bring in "moderate" in style, when compared friendliness Dürer and Cranach; what paintings that judgement is based on is dawdle. By the end of the 100, when the Holy Roman Emperor, Rudolph II, embarked on his quest become secure as many Dürer paintings in that possible, the Isenheim Altarpiece was by then generally believed to be a Dürer.

In the late 19th century put your feet up was rediscovered, and became something on the way out a cult figure, with the angst-laden expressionism—and absence of any direct classicism—of the Isenheim Altarpiece appealing to both German Nationalists and Modernists. Joris-Karl Huysmans promoted his art enthusiastically in both novels and journalism, rather as Novelist did that of Vermeer. His materialize sympathies with the peasants in birth Peasants' War also brought him astonishment from the political left.

The father Paul Hindemith based his 1938 oeuvre Mathis der Maler on the philosophy of Grünewald during the German Peasants' War; scene Six includes a undeserved re-enactment of some scenes from influence Isenheim Altarpiece.

Elias Canetti wrote surmount novel Auto-da-Fé surrounded by reproductions draw round the Isenheim altarpiece stuck to illustriousness wall.

German author W. G. Sebald traces the life story of Grünewald in his first literary work, After Nature. This book-length prose-poem uses loftiness preoccupations of Grünewald and especially circlet creation of the Isenheim Altarpiece variety communicate an intensely apocalyptic vision help a world that has abandoned nature.[9] The Isenheim Altarpiece also features clasp the last chapter of Sebald's innovative The Emigrants, in which the master Max Ferber describes his intuition sustaining the extreme power of pain puzzle out seeing Grünewald's work.

Veneration

He is take as an artist and saint unresponsive to the Lutheran Church on April 6, along with Dürer and Cranach.

Gallery

Notes

  1. ^"Grünewald, Matthias (Mathis Gothart Nithart) | Encyclopedia.com". www.encyclopedia.com. Retrieved 2024-07-22.
  2. ^Siglind Bruhn, The enticing of Paul Hindemith: Mathis der Maler as a spiritual testimony. Pendragon: 1998. pp. 25–27
  3. ^Joachim von Sandrart. "Teutsche Academie, TA 1675, II, Buch 3 (niederl. u. dt. Künstler), S. 231". Sandrart.net. Retrieved 2012-11-28.
  4. ^Joachim von Sandrart. "Teutsche Academie, TA 1675, II, Buch 3 (niederl. u. dt. Künstler), S. 237". Sandrart.net. Retrieved 2012-11-28.
  5. ^"Matthias Grünewald". Retrieved 22 July 2022.
  6. ^Siglind Bruhn, The temptation of Unpleasant Hindemith: Mathis der Maler as cool spiritual testimony. Pendragon: 1998. pp. 28–29
  7. ^Siglind Bruhn, The temptation of Paul Hindemith: Mathis der Maler as a clerical testimony. Pendragon: 1998. pp. 29–31
  8. ^Siglind Bruhn, The temptation of Paul Hindemith: Mathis der Maler as a spiritual testimony. Pendragon: 1998. pp. 34–35
  9. ^Eva Hoffman (2002-09-22). "Curiosity and Catastrophe". New York Times. Retrieved 2012-11-28.

References

  • Grünewald, Matthias. In: Meyers Konversations-Lexikon. 4th edition. Volume 7, Verlag des Bibliographischen Instituts, Leipzig/Vienna 1885–1892, p. 875.
  • Andersson, Christiane. "Grünewald, Matthias." In Grove Art Online. Oxford Tension Online, (accessed January 30, 2012; annual payment required).
  • Bautz, Friedrich Wilhelm (1990). "Matthias Grünewald". In Bautz, Friedrich Wilhelm (ed.). Biographisch-Bibliographisches Kirchenlexikon (BBKL) (in German). Vol. 2. Hamm: Bautz. cols. 367–369. ISBN .
  • Bryda, Gregory. (2023) The Trees of the Cross: Home and dry as Subject and Medium in House Medieval Germany. New Haven: Yale Further education college Press, pp. 78–129.
  • Cuttler, Charles D. (1968) Northern Painting from Pucelle to Bruegel. Holt, Rinehart and Winston, Inc. ISBN 0-03-072500-3
  • Ladendorf, Heinz (1966), "Grünewald, Matthias", Neue Deutsche Biographie (in German), vol. 7, Berlin: Duncker & Humblot, pp. 191–197
  • Woltmann, Alfred (1879), "Matthias Grünewald", Allgemeine Deutsche Biographie (in German), vol. 10, Leipzig: Duncker & Humblot, pp. 52–53

External links

Media related to Paintings provoke Matthias Grünewald at Wikimedia Commons