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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.
Isenheim altarpiece - First view Second view Third view (the wings in this picture are actually the back of those in the second one, so that they can be seen when the altar is closed, with the saints Anthony and Paul at the right side and the demons at the left) The altarpiece has two sets of wings, displaying three configurations: Wings closed:
Issenheim (French pronunciation: ⓘ; German: Isenheim) is a commune in the Haut-Rhin department in Grand Est in north-eastern France.. The Isenheim Altarpiece, currently on display at the Unterlinden Museum of Colmar, was completed in 1515 by Matthias Grünewald for the Antonines monastery in Issenheim.
Hindemith composed the symphony in 1934, while plans for the opera were in their preliminary stages. The conductor Wilhelm Furtwängler asked him at that time for a new work to perform on an upcoming Berlin Philharmonic concert tour, and Hindemith decided to compose symphonic movements that could serve as instrumental interludes in the opera, or be drawn upon or elaborated into various scenes.
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 Apples of Apollo: Pagan and Christian Mysteries of the Eucharist (2001) explores the role that entheogens in general, and Amanita muscaria in particular, played in Greek and biblical mythology and later on in Renaissance painting, most notably in the Isenheim Altarpiece by Matthias Grünewald.
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Lying somewhat outside these developments is Matthias Grünewald, who left very few works, but whose masterpiece, his Isenheim Altarpiece (completed 1515), has been widely regarded as the greatest German Renaissance painting since it was restored to critical attention in the 19th century.