This richly illustrated book with essays by Heinrich Geissler, Bernhard Saran, Josoph urine and Adalbert Mischlewksi and an illuminating foreword by Bihalji Oto-Merin deals with the famous work by Mathis Grünewald (1470-1528). This is around the high altar for the Antoniterkloster in Isenheim, near Colmar in Alsace. The contract for this Grünewald received Guedo Guersi, the preceptor of the monastery. Grünewald held between 1513-1515 in Isenheim. This residence is well documented. It is believed that the altar was created in the place itself. This altar is a late gothic altar, consisting of an altar, predella, shrine and conversation corner, which is unfortunately lost. Get is a carving for the shrine and predella. They come from the Alsatian sculptor Nikolaus Hagenauer. These parts have been found Grünewald, when he was commissioned to paint the hinged mirrors this, which allowed a two-time transformation of the picture wall, three views.
On the one hand the iconological program of the altar panels with the relevant image tradition of late Gothic painting, on the other hand, it contains transformations of these types of images, which include the influence of theological and mystical writings of Hildegard of Bingen and sermon collections, but also of texts of the Fathers of the Latin Middle Ages . let The encyclopedic theological program image corresponds to an impressive variety and expressiveness sensually vivid images.
When closed, the altar shows the middle image (p. 10-11), the Crucifixion with Mary Magdalene, John and John dE dT. The display is flanked by the wings level with Saint Anthony and Saint Sebastian. The Crucifixion enhanced by the simultaneous presence of John the Baptist, the type of a Calvary-image to the reference to the redemption through the sacrificial death of Christ.
Heinrich Geissler describes in his essay "The altar data and facts," explains this very well and some parts of the image, such as "The head of the crucified Christ" (p.12) "The countenance of the Mother of God" (p. 14), "The hands of the St.. Maria" (p.16). The ampulla St. Magdalena "(p.18)," Mary and John under the cross "(p.20)," John the Baptist "(p. 21)," The feet of the Crucified "(p.22)," The Sacrifice Lamb "( p. 23), "The Saint. Anthony "(p. 25)," Two angels with the martyr's crown "(p.27)," The Saint. Sebastian "(p.29)," The Lamentation of Christ "(S.30/31).
The first conversion (after unfolding of the split in the middle of crucifixion panel) shows from left to right (see page 34-35) "Annunciation, a Christmas picture and the resurrection of Christ." Geissler said here Image Cutouts "The mantle of the Annunciation angel" (p.37), "countenance and gesture" (p.38-39), "Shape and space" (p.41), "Weisagende prophets" (p.42), "Angel with Marie Crown "(p.45)," angel worship "(p.46)," Angel Concerto "and" Nativity "(p.48-49)," The Christ Child "(p.51)," Feigenast before the locked gate "(p.52)," The Mary Rose "(p. 53), Marie aeterna" (p. 54), "The Mother of God (p.55)," God the Father in glory "(p.56)," The resurrection "(p.58)," The grave cloth of the resurrection (S .61), "guard at the grave" (p. 63).
The second conversion shows the open shrine with carved Figures (p. 66-67) of the saints "Augustine, Anthony and Jerome," and the open predella with the bust figures "Christ and the twelve apostles." The backs of the inner wings show in this position, the "Disputation of St. Anthony and St. Paul and the Temptation of St. Anthony". Here again, individual parts of the image well explained, such as "The Raabe brings the bread" (p. 69) or "Saint. Anthony and St.. Zwiegespäch Paul in" (p.70-71).
In Isenheim altarpiece transformed Grünewald the late Gothic altar in a series of closed-display walls. In most light-dark contrasts (as in the crucifixion) reserves the Their full color intensity and is often the actual expression. The design element of the artist make it possible that can be shown in its imagery of the extreme contradictions of existence.
I was particularly impressed to find many pictures and video clips of the altar and the detailed explanations of the contribution of Bernard Saran "By the power of words in the" Views and urine to the altar and the space problem.
A very good art book, it's worth it to deepen.
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