Everything about Matthias Gr Newald totally explained
Matthias Grünewald or "Mathis" (as first name), "Gothart" or "Neithardt" (as surname), (c.
1470 –
August 31 1528), was an important
German Renaissance painter of religious works, who ignored Renaissance
classicism to continue the expressive and intense style of late medieval Central European art into the 16th century. Only ten paintings (several consisting of many panels) and thirty-five drawings survive, all religious, although many others were lost at sea in the Baltic on their way to Sweden as war booty. His reputation was obscured until the late nineteenth century, and many of his paintings attributed to
Albrecht Dürer, who is now seen as his stylistic antithesis. His largest and most famous work is the
Isenheim Altarpiece in
Colmar,
Alsace (now in France).
Biography
The details of his life are unusually unclear for a painter of his significance at this date, despite the fact that his commissions show that he'd reasonable recognition in his own lifetime. His real name remains uncertain, but was definitely not Grünewald; this was a mistake by the 17th-century writer,
Joachim von Sandrart, who confused him with another artist. He is documented as "Master Mathis" or "Mathis the Painter" (Mathis der Maler), and as using as surname both Gothart and Neithardt - this last may have been his surname, or more likely that of his wife. He was probably born in
Würzburg in the
1470s. It is possible he was a pupil of
Hans Holbein the Elder. From about 1500 he seems to have lived at
Seligenstadt, when not working elsewhere.
His first dated painting is probably in Munich, dated 1503 on a much later note which apparently records an older inscription. From about
1510 to
1525 he served in the
Rhineland as court
painter, architect (or at least supervisor of building works) and
hydraulic engineer to two successive Prince-
Archbishops of Mainz,
Uriel von Gemmingen and
Albert of Brandenburg (whose face he used for a St Erasmus in Munich). He left this post possibly because of sympathies either with the
Peasants' War, in which Seligenstadt was particularly caught up, or
Lutheranism (he had some Lutheran pamphlets and papers at his death). Grünewald died in
Halle, probably in
1528, or perhaps 1531.
Works
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. Its nine images on twelve panels contain scenes of the
Annunciation,
Mary bathing Christ,
Crucifixion,
Entombment of Christ,
Resurrection,
Temptation of St. Anthony and saints. As was common in the preceding century, there are different views, depending on the arrangement of the wings; but the three views available here are exceptional. The third view discloses a carved and gilded wood altarpiece in the centre. As well as being by far his greatest surviving work, the altarpiece contains most of his surviving painting by area, being 2.65 metres high and over 5 metres wide at its fullest extent.
His other works are in Germany, except for a small Crucifixion in Washington and another in
Basel, Switzerland. He was asked in about 1510 to paint four saints in
grisaille for the outside of the wings of Dürer's
Heller Altarpiece in Frankfurt. Dürer's work was destroyed by fire and only survives in copies, but fortunately the wings have survived. There are also the late
Tauberbischofsheim altarpiece in
Karlsruhe, and the
Establishment of the Santa Maria Maggiore in Rome (1517-1519),
Freiburg, Augustinermuseum. A large panel of
Saint Erasmus and
Saint Maurice in Munich probably dates from 1521-24, and was apparently part of a larger altarpiece project, the rest of which hasn't survived. Other works are in
Munich, Karlsruhe, and Rhineland churches. Altogether four somber and awe-filled
Crucifixions survive. The visionary character of his work, with its expressive colour and line, is in stark contrast to
Albrecht Dürer's works. His paintings are known for their dramatic forms, vivid colors, and depiction of light.
Reputation
The Protestant theologian
Philipp Melanchthon is one of the few contemporary writers to refer to Grünewald, who is rather puzzlingly described as "moderate" in style, when compared with Dürer and Cranach; what paintings this judgement is based on is uncertain. By the end of the century, when the
Holy Roman Emperor, Rudolph II embarked on his quest to secure as many Dürer paintings as possible, the Isenheim Altarpiece was already generally believed to be a Dürer. In the late 19th century he was rediscovered, and became something of 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
Proust did that of
Vermeer. His apparent sympathies with the peasants in the Peasants' War also brought him admiration from the political left.
Elias Canetti wrote his novel
Auto-da-Fé surrounded by reproductions of the Isenheim altarpiece stuck to the wall.
The composer
Paul Hindemith based his 1938 opera
Mathis der Maler on the life of Grünewald during the Peasants' War; scene Six includes a partial re-enactment of some scenes from the Isenheim Altarpiece.
He is commemorated as an artist and quasi-saint by the
Lutheran Church on April 6, along with Dürer and Cranach.
Gallery
Image:Issenheim altarpiece view 2.jpg|Isenheim Altarpiece, 1515.
Image:Mathis Gothart Grünewald 001.jpg|Madonna and Child, 1517-1519.
Image:Mathis Gothart Grünewald 003.jpg|Establishment of the Santa Maria Maggiore in Rome, 1517-1519.
Image:Grünewald Christ Carrying the Cross.jpg|The Mocking of Christ, c. 1503.
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