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The Isenheim Altarpiece is an altarpiece sculpted and painted by, ... Painting, Sculpture, and the Graphic Arts from 1350 to 1575. New York City: Abrams.
Matthias Grünewald, inner right wing of the Isenheim Altarpiece depicting the Temptation of St. Anthony, 1512-1516 (oil on panel). The Temptation of Saint Anthony is an often-repeated subject in the history of art and literature, concerning the supernatural temptation reportedly faced by Saint Anthony the Great during his sojourn in the Egyptian desert.
The J. Paul Getty Museum purchased a forged painting based on this drawing. Only religious works are included in his small surviving corpus, the most famous being the Isenheim Altarpiece, completed 1515, now in the Musée d'Unterlinden, Colmar.
The Unterlinden Museum (French: Musée Unterlinden) is located in Colmar, in the Alsace region of France. The museum, housed in a 13th-century Dominican religious sisters' convent and a 1906 former public baths building, is home to the Isenheim Altarpiece by the German Renaissance painter Matthias Grünewald and features a large collection of local and international artworks and manufactured ...
An altarpiece is an work of art in painting, ... Isenheim Altarpiece (1516) by Matthias Grünewald (Unterlinden Museum, Colmar) Assumption of the Virgin (1516–1518 ...
Mathis der Maler (Matthias the Painter) is an opera by Paul Hindemith.The work's protagonist, Matthias Grünewald, was a historical figure who flourished during the Reformation, and whose art, in particular the Isenheim Altarpiece, [1] [2] inspired many creative figures in the early 20th century.
The Chariot of Death is a large allegorical painting by Théophile Schuler. It was gifted to the Unterlinden Museum by the artist in 1862. Its inventory number is 88.RP.454. [2] The painting is considered one of the most emblematic of the collection (which includes the world-famous Isenheim Altarpiece).
Matthias Grünewald, Lamentation and Entombment of Christ; (predella of the Isenheim Altarpiece), 1512–15, Musee d'Unterlinden, Colmar. In 1999, Bätschmann and Griener raised the possibility that the panel was intended to form part of a Holy Tomb, perhaps as a lid to be laid over a sepulchre. [4]