资料卡
- 出生
- 1455 年
- 出生地
- 维尔茨堡
- 去世
- 1528 年
- 逝世地
- 萨勒河畔哈雷
- 安葬地
- 萨勒河畔哈雷
- 国籍
- 德国
- 职业
- 建筑师、工程师、承建商、画家、雕塑家、营造师 等 8 项
- 领域
- 绘画
- 流派
- 德国文艺复兴时期
- 学生
- Hans Grimmer
- 代表作
- 斯图帕赫圣母、伊森海姆祭坛画、Trias Romana
资料来自 Wikidata Q154338(CC0)。
生平与创作
马蒂亚斯·格吕内瓦尔德(德语:Matthias Grünewald,约1470年—1528年8月31日),真名为马蒂亚斯·哥特哈德(Mathias Gothardt),德国文艺复兴时期画家,不过他仍坚持中世纪哥特式传统,是德国哥特式绘画的最后一位伟大代表。
格吕内瓦尔德曾担任美因茨大主教的宫廷画师与艺术监管人,最杰出的代表作为《伊森海姆祭坛画》。他常用扭曲夸张的表现手法,其风格影响了20世纪的表现主义。
摘自维基百科「马蒂亚斯·格吕内瓦尔德」,按 CC BY-SA 4.0 使用,繁体已转简体,去掉了参考文献、外部链接等尾部小节和表格,其余文字未作改动。
中文条目比较短,展开看英文维基百科的条目(英文原文)
Matthias Grünewald (c. 1470 – 31 August 1528; also known as Mathis Gothart Nithart) was a German Renaissance painter of religious works who ignored Renaissance classicism to continue the style of late medieval Central European art into the 16th century.
Only ten paintings—including several polyptychs—and thirty-five drawings survive, all religious, although many others were lost at sea on their way to Sweden as war booty. He was obscure until the late nineteenth century, when many of his paintings were attributed to Albrecht Dürer, who is now seen as his stylistic antithesis. His largest and most famous work is the Isenheim Altarpiece created c. 1512 to 1516.
Life
He was recognised in his lifetime, as shown by his commissions, yet the details of his life are unusually unclear for a painter of his significance at this date. The first source to sketch his biography comes from the German art historian Joachim von Sandrart, who describes him around 1505 working on the exterior decoration of an altarpiece by Albrecht Dürer in Frankfurt. As this work is typically performed by apprentices, it was estimated that he was born in 1475. Sandrart records that Grünewald's apprentice was the painter Hans Grimmer, who became famous in his time, but most of whose works were lost in the Thirty Years' War. Sandrart describes Grünewald as leading a withdrawn and melancholy life, and marrying unhappily.
More recent investigations have provided further information on Grünewald's life. In 1511 he became court artist of Uriel von Gemmingen, Archbishop of Mainz, and he also worked for the next archbishop, Albert of Brandenburg. About 1510 he received a commission from the Frankfurt merchant Jacob Heller and settled in nearby Frankfurt where records indicate he bought a house and married Anna, a converted Jew, then probably aged 18. The marriage was not happy and in 1523 she was institutionalised with what is variously described as mental illness and demonic possession.
From 1512 to 1514 or 1515 he worked on the Isenheim altarpiece, apparently in partnership with another Mathis, variously surnamed Nithart, Neithart, von Würzburg (after his place of birth), or Gothardt. Grünewald seems to have left Isenheim in a hurry, returning to Frankfurt, and his subsequent poverty suggests he was not fully paid for the altarpiece. In 1527 he entered the services of the wealthy and noble von Erbach family, apparently with a child (whether his own or adopted, is unclear). He most probably died in 1532, although sources vary.
There has been considerable uncertainty about the details of his life. In 1938 Walter Karl Zülch published the theory that Grünewald and his partner Nithart/Gothardt were the same person; this Nithart/Gothardt was a painter, engineer, and "water artist" born in Würzburg in the 1460s or maybe 1470s and probably dying in 1528. This theory is now generally discredited, although more recent historians believe Nithart/Gothardt may have pretended to be Grünewald for business reasons.
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 are arranged on double wings to present three views (rather than just the open and closed states of triptych altarpieces), according to the season or occasion. The first view with the outer wings closed shows a Crucifixion flanked by Saint Sebastien and Saint Anthony, with a predella showing the entombment. When the first set of wings is opened, the Annunciation, Angelic Concert (sometimes interpreted as the Birth of Ecclesia) Mary bathing Christ, and Resurrection are displayed. The third view discloses a carved and gilded wood altarpiece by Nikolaus Hagenauer, flanked by the Temptation of St. Anthony and Anthony's visit to Saint Paul. As well as being by far his greatest surviving work, the altarpiece contains most of his surviving painting by surface area, being 2.65 metres high and over 5 metres wide at its fullest extent.
节选,摘自英文维基百科「Matthias Grünewald」,按 CC BY-SA 4.0 使用。
