#isenheim

[conformi]

Don Rosa, The Money Pit, Donald Duck Adventures 1, 1990 VS Matthias Grünewald, Resurrection | Isenheim Altarpiece, 1512-1516

[jajatoc]

I've got everything I ever wanted now...

Day 9, Lodestar

[smokeycemetery]

Detail, Isenheimer Althar, Grünwald

[fabiansteinhauer]

Der Isenheimer Zettelkasten

Mindestens zwei Zettel, ein hoher und ein niederer, ein großer und ein kleiner, ein starker und ein schwacher, ein souveräner und ein frivoler Zettel, einer am Kreuz und einer am verfaulten, pilzigen Holz, ein zentraler Zettel und ein Randzettel. Grünewald stülpt die Zettelmodelle deutlich zu Polen aus, zu den Möglichkeiten dessen, was ein Zettel zu leisten vermag, wo und wie er überhaupt verzettelt sein und verzetteln kann.

[coffeenewstom]

Kaffeereise nach Colmar IV - 1924, un Monde de Cafés (Reblog)

Durch die Altstadt meandern wir uns weiter durch Richtung Norden mit dem Ziel des Place des Unterlinden. Vorbei am kleinsten Haus der Stadt. Zwei Zimmer auf zwei Stockwerken mit gerade einmal 25 Quadratmetern Wohnfläche und Zugang über den Hof. Man dieses Haus einfach auf einen Vorsprung des gelben Hauses darunter gesetzt. Wenn das bei unserer Wohnungsknappheit Schule macht. Wer durch Colmar…

[probablymoons]

still thinking about that this one painting where jc was described as “putrescent” like. umm so we saw ur deity and he was totally in a state of decay or whatever… yeah with pus etc.

(Isenheim Altarpiece by Matthias Grünewald)

[mossy-petrichor]

O Vale dos Suicidas

poem by the author / isenheim altarpiece / the gospel according to spiritism / art and poem by the author / author's "forbidden to be sad", based on a child's drawing published by a religious school / autotheist by baby bugs / the gospel according to spiritism / "jesus is the only one who truly loves you" graffiti on bus seat / chop suey! by system of a down / nosso lar umbral opening scene / poem by the author

[angeltreasure]

The Crucifixion, from the Isenheim Altarpiece, c.1512-15 by Matthias Grünewald.

[burnitalldownism]

I’m not making any massive revelatory point here, it’s been made a million times before. But I visited the National Gallery today with my daughter and mum. Reminded me of a few pieces I’d studied at school.

The argument against art being political is always so funny to me, because Renaissance artists, commissioned by the church, were super political centuries ago.

The Taking of Christ by Caravaggio. Notice the armour? That’s not Roman armour, that’s armour contemporary to Caravaggio’s time. A modern equivalent would be Jesus wearing keffiyeh, being arrested by soldiers in IDF uniforms.

The Isenheim triptych by Grunewald. Jesus is represented, showing external physical symptoms of a number of diseases…including syphillis. Jesus with an STD. Syphillis was a huge problem in Europe at the time and so Grunewald was translating the suffering of Christ on the cross to the suffering of people at the time.

Another W for Caravaggio, this time it’s Death of the Virgin. Mary was modelled on the body of a prostitute who was recovered from the River Tiber.

Ending off with a non-religious one is the Raft of the Medusa by Géricault. Helped to bring down a government by inflaming public resentment towards classism and nepotism.

Art has always been political and it has always spoken truth to power. Art punches up and that’s why the people who want it to remain neutral are always those who punch down.

[visual-sandwich]

Matthias Grunewald (c1480 1528) - A Glass Jug detail from the Concert of Angels from the Isenheim Altar

[martitheevans]

Web-weaving of something to do with Catholicism/ Christianity

Sun-Bleached Flies - Ethel Cain /// American Teenager - Ethel Cain /// Iris - The Goo Goo Dolls /// Matthew 27:46 /// Isenheim Altarpiece - Matthias Grünewald

[jcs-study]

The "Gethsemane" paintings: what they are and who created them

It's widely regarded as one of the most artistically effective -- and emotionally affecting -- sequences in the 1973 film of Jesus Christ Superstar. Nearly every reviewer has cited it (one calling it nothing less than a "masterly cinematic stroke of genius"), Wikipedia devotes the caption of an illustration to it, and I've seen more than one production (and one 50th-anniversary music video featuring the film's star, Ted Neeley) imitate it. (In fairness, it's not like anyone has come up with a better idea.)

Every draft of the screenplay uses the same language to describe it, and since I couldn't phrase it nearly so well, I will, too:

258 to 280. CRUCIFIXION MONTAGE.

On the heavy brass instrumental bridge, we cut to a rapid montage of about 23 shock cuts of full figure and details from the most powerful masterpieces, painted and sculpted, on the theme of The Crucifixion. Cut for impact of expression, nailed hand, wounds, thorns; for these 26 seconds we see how Christ was to die - both then and ever since. This is the agony of the cross.

It certainly is... especially those uncomfortably fast zooms and abrupt close-ups.

Some call it "foreshadowing," but I don't think that's a strong enough word. Truthfully, I find this series of famous paintings more brutal than the actual crucifixion scene in the movie. Compared to the visions Christ might be having about his death, the execution itself is in, out, and done so quickly that it's hard for me to feel any kind of way about it. But this sequence is a horse of a different color.

Anyway, one of the most asked questions about this montage has been, "What paintings were featured in this sequence, and who painted them?" In all honesty, I never cared who did it. I assumed they came from the Italian and Northern Renaissance eras, possibly with some Baroque mixed in. But I was never an art history major, and knowing the sources and their creators wouldn't have enriched my experience. I know it nailed me in the gut when I was a kid and has (somewhat) freaked me out ever since, and I thought that was all I needed to know.

However, it mattered to other people, so I did some digging. It was kind of tough, partly because many of the shots zeroed in on specific details rather than revealing the entire painting. But with a little help from the film's production file (courtesy of the Norman Jewison collection at the Wisconsin Historical Society Archives), and researchers Ethan Clark and José Garay, we've managed to identify 12 paintings by 10 artists in the final montage, as well as uncovering a few of them that didn't make the cut.

To learn about the paintings and take a closer look, hit the jump!

The Montage

Here, in order of appearance, are the paintings that made the cut, as well as the artists behind them, and how many times they show up:

Crucifixion of Christ (Derick Baegert) -- once

Isenheim Altarpiece (Matthias Grünewald) -- six times (thrice sequentially after Baegert, twice sequentially after the second Grünewald, and once after Bosch)

Crucifixion (Tintoretto) -- once (and incidentally, it's horizontally inverted)

The Crucifixion of Christ (Matthias Grünewald) -- twice (once after Tintoretto, once after the Austrian School)

Christ on the Cross (Diego Velázquez) -- once

Crucifixion (Masaccio) -- once

Crucifixion (Andrea del Castagno) -- once

The Trinity with Christ Crucified (Austrian School) -- once (the angel on the right-hand side, horizontally inverted)

Saint Luke Painting the Crucifixion (Francisco de Zurbarán) -- twice (once before Bosch, once before van der Weyden)

Christ Carrying the Cross (a follower of Hieronymus Bosch) -- twice (sequentially)

The Crucified Christ Between the Mourning Mary and St. John, a/k/a Crucifixion of Scheut or Escorial Crucifixion (Rogier van der Weyden) -- twice (sequentially)

Christ Crucified (Francisco Goya) -- thrice (sequentially)

Of the above list, ten of them were included in a memo dated June 8, 1973, concerning the contents of the montage that appears in the production file. (Grünewald's name appears only once, with no attribution, so it's unclear whether one or both paintings were initially intended for inclusion.)

The Leftovers

Only three classic paintings from the previously mentioned memo didn't make it into the film.

First on the list, which categorized the paintings alphabetically by artist's surname (or, in some cases, name), is "Antonello." This clearly refers to the crucifixion painted by Antonello da Messina, which incidentally was also source material for the production designs for Martin Scorsese's The Last Temptation of Christ. The only unclear thing is which one; Wikipedia lists three, all fairly similar-looking.

Second is an actual Hieronymus Bosch painting, Ecce Homo. Considering the Bosch-reminiscent image used in the final cut, I can only assume Jewison was either eying the crowd or confusing this painting with the more well-known descendant.

Last is an artist we have yet to identify. The memo lists them as "Guinewala," but Googling produces no artist by that name, and there is no helpful title to allow us to reverse-engineer who that actually is. (My assumption is that it's a phonetic spelling or a weird typo.) A friend who spends a lot of time at MOMA and the Brooklyn Museum of Art is wracking their brain. When they have an answer, we will!

Well... I'm glad I cleared that up for everyone. I hope this offers the art experts among us some insight into the construction of the scene. Maybe this will tell them something that we average folk don't know? Time will tell.

[august-undergrounds]

ive been laying on my bed in pain for over an hour now and the construction workers outside are playing the radio and it sounds like angels singing. feeling like european peasants with ergotism after seeing the isenheim altarpiece.

[random-brushstrokes]

Matthias Grünewald - The Isenheim Altarpiece, Concert of Angels and Nativity panel (detail), 1512-16

[fabiansteinhauer]

[aure-entuluva-2407]

Welcome, Friend!

Hey Guys! I'm @margindoodles2407, and this is my art blog!

A few things to know about me: If you want to know my personal deetz, you can go to my main blog and read my pinned post there. The only thing from there that I'm going to put here is that I'm Roman Catholic, because that is the most core aspect of who I am as a person and shapes and informs my every decision. Pray for me that that may always be true.

Anyway! I am a big Legend of Zelda and Star Wars fan, so expect to see a lot of that here, along with whatever I want to draw at any given moment. This may include, but is not limited to, Lord of the Rings, The Chronicles of Narnia, Miss Peregrine's Home for Peculiar Children, and Sacred Art.

My requests are always open, so if there's something you desperately want to see me draw, don't hesitate to ask! However, I will not answer requests that violate my beliefs and/or morals, which you can get a basic overview of by consulting the Catechism of the Catholic Church, which I have linked here.

To answer a few more questions people may have:

The name of my blog is Aurë Entuluva, which is Elvish (if anyone would be so kind as to remind me whether it's Quenya or Sindarin, I would be eternally grateful) for Day Shall Come Again, and my blog title is "The Good, the True, and the Beautiful", both of which pretty much encompass my outlook on life. If you have any questions about what that means, don't hesitate to shoot me an ask (though I'd prefer if you sent it to my main blog)!

My profile picture is the Resurrection from Grunewald's Isenheim Altarpiece, aka my favorite artwork!

My header image is a detail from Michelangelo's Creation of Adam, found on the Sistine Chapel ceiling.

God bless you, and I hope to see you around!