|
See also:GRUNEWALD, MATHIAS . The accounts which are given of this See also:German painter, a native of See also:Aschaffenburg, are curiously contradictory. Between 1518 and 1530, according to statements adopted by See also:Waagen and Passavant, he was commissioned by See also:Albert of See also:Brandenburg, elector and See also:archbishop of See also:Mainz, to produce an altarpiece for the collegiate See also:- CHURCH
- CHURCH (according to most authorities derived from the Gr. Kvpcaxov [&wµa], " the Lord's [house]," and common to many Teutonic, Slavonic and other languages under various forms—Scottish kirk, Ger. Kirche, Swed. kirka, Dan. kirke, Russ. tserkov, Buig. cerk
- CHURCH, FREDERICK EDWIN (1826-1900)
- CHURCH, GEORGE EARL (1835–1910)
- CHURCH, RICHARD WILLIAM (1815–189o)
- CHURCH, SIR RICHARD (1784–1873)
church of St See also:Maurice; and See also:Mary Magdalen at See also:Halle on the See also:Saale; and he acquitted ,himself of this See also:duty with such cleverness that the See also:prelate in after years caused the picture to be rescued from the Reformers and brought back to Aschaffenburg. From one of the churches of that See also:city it was taken to the Pinakothek of See also:Munich in 1836. It represents St Maurice and Mary Magdalen between four See also:saints, and displays a See also:style so markedly characteristic, and so like that of See also:Lucas See also:Cranach, that Waagen was induced to See also:call
Grunewald Cranach's See also:master. He also traced the same See also:hand and technical See also:execution in the See also:great altarpieces of See also:Annaberg and See also:Heilbronn, and in various panels exhibited in the museums of Mainz, See also:Darmstadt, Aschaffenburg, See also:Vienna and See also:Berlin. A later See also:race of critics, declining to accept the statements of Waagen and Passavant, affirm that there is no documentary See also:evidence to connect Grunewald with the pictures of Halle and Annaberg, and they quote See also:Sandrart and Bernhard Jobin of See also:Strassburg to show that Grunewald is the painter of pictures of a different class. They prove that he finished before 1516 the large See also:altar-piece of Issenheim, at See also:present in the museum of See also:Colmar, and starting from these premises they connect the artist with See also:Altdorfer and Diirer to the exclusion of Cranach. That a native of the See also:Palatinate should have been asked to execute pictures for a church in See also:Saxony can scarcely be accounted See also:strange, since we observe that Hans Baldung (See also:Grun) was entrusted with a See also:commission of this See also:kind. But that a painter of Aschaffenburg should display the style of Cranach is strange and indeed incredible, unless vouched for by first-class evidence. In this See also:case documents are altogether wanting, whilst on the other hand it is beyond the possibility of doubt, even according to Waagen, that the altarpiece of Issenheim is the creation of a See also:man whose teaching was altogether different from that of the painter of the pictures of Halle and Annaberg. The altarpiece of Issenheim is a See also:fine and powerful See also:work, completed as See also:local records show before 1516 by a Swabian, whose distinguishing See also:mark is that he followed the traditions of See also:- MARTIN (Martinus)
- MARTIN, BON LOUIS HENRI (1810-1883)
- MARTIN, CLAUD (1735-1800)
- MARTIN, FRANCOIS XAVIER (1762-1846)
- MARTIN, HOMER DODGE (1836-1897)
- MARTIN, JOHN (1789-1854)
- MARTIN, LUTHER (1748-1826)
- MARTIN, SIR THEODORE (1816-1909)
- MARTIN, SIR WILLIAM FANSHAWE (1801–1895)
- MARTIN, ST (c. 316-400)
- MARTIN, WILLIAM (1767-1810)
Martin See also:Schongauer, and came under the See also:influence of Altdorfer and See also:Durer. As a work of See also:art the altarpiece is important, being a poliptych of eleven panels, a carved central See also:shrine covered with a See also:double set of wings, and two See also:side pieces containing the Temptation of St See also:Anthony, the hermits Anthony and See also:Paul in converse, the Virgin adored by Angels, the Resurrection, the See also:Annunciation, the Crucifixion, St See also:Sebastian, St Anthony, and the Marys wailing over the dead See also:body of See also:Christ. The author of these compositions is also the painter of a See also:series of mono-chromes described by Sandrart in the Dominican See also:convent, and now in See also:part in the Saalhof at See also:Frankfort, and a Resurrection in the museum of See also:Basel, registered in Amerbach's See also:inventory as the work of Grunewald.
End of Article: GRUNEWALD, MATHIAS
Additional information and Comments
There are no comments yet for this article.
Please link directly to this article:
Highlight the code below, right click, and select "copy." Then paste it into your website, email, or other HTML.
Site content, images, and layout Copyright © 2006 - Net Industries, worldwide.
Do not copy, download, transfer, or otherwise replicate the site content in whole or in part.
Links to articles and home page are always encouraged.
|
del.icio.us it!