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View of the Isenheim Altarpiece, Nikolaus Hagenauer and Matthias Grünewald, c 1512–1516. The Isenheim Altarpiece is an altarpiece sculpted and painted by, respectively, the Germans Nikolaus of Haguenau and Matthias Grünewald in 1512–1516. [1] It is on display at the Unterlinden Museum at Colmar, Alsace, in France. It is Grünewald's ...
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.
While earlier Northern artists showed Christ rising out of the tomb, but still with his feet on the ground, or the tomb itself, Matthias Grünewald's Isenheim Altarpiece (1505–1516) has a striking composition with Christ hovering in mid-air, which was already common in Italy, for example in a Raphael altarpiece of about 1500 (see gallery) and ...
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.
Interior of the Isenheim Altarpiece (c. 1500), attributed to Nikolaus Hagenauer. Nikolaus Hagenauer (c. 1445/1460 — before 1538) was a German late gothic sculptor from Hagenau (Alsace in the Holy Roman Empire, present day France).
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.
Schuler depicts different personifications of Death: one is the angel of death in the centre of the painting, a young and beautiful but cold-faced woman with black hair and black wings, who drives the chariot while looking straight at the viewer; the other is a skeleton in a shroud, in the lower right corner of the painting, which is shown ...
By the mid-15th century andachtsbilder were influencing large monumental works, a process James Snyder discusses in relation to major works such as Rogier van der Weyden's Prado Deposition, [9] the Isenheim Altarpiece of Matthias Grünewald, [10] and the carved Altarpiece of the Holy Blood by Tilman Riemenschneider at Rothenburg ob der Tauber. [11]