Иконостас изенхеймский {1492}
Isenheim Altarpiece
При монастыре св. Антония в немецком городе Изенгейме близ Страсбурга (Эльзас, Германия; позднее Эльзас отошёл к Франции), для церкви которого сделан этот иконостас, была богадельня. Здесь монахи ухаживали за умиравшими от чумы во время эпидемии. Может быть, поэтому автор так экзальтированно, с таким напряжением передаёт страдания Христа, Его истерзанное тело и искажённое мукой лицо.
Сцена Распятия заставляет вспомнить слова евангелиста Марка: "В шестом часу наступила тьма по всей земле и продолжалась до часа девятого".

The Isenheim Altarpiece was executed for the hospital chapel of St Anthony's monastery in Isenheim in Alsace, which explains the presence of the plague saint, St Sebastian, and the patrons of the more austere and solitary forms of monasticism, St Antony Abbot and St Paul the Hermit.

The altarpiece is now at a nearby town.
The work of Grunewald expresses the torment of the early 16th century more fully than that of any other artist.
Durer was too steeped in Italian culture to have much use for the tortured Gothic forms which Grunewald twisted to suit his expressive purposes in his masterpiece, the Isenheim Altar.
This was painted before Luther nailed his theses to the door of Wittenberg Cathedral in 1517, but it is painted by a man who, like Bosch, used his great technical powers to express a simple, unmistakable message of emotional intensity and terrible realism.
These visions are entirely in the spirit of St Bridget of Sweden, whose Revelations were one of the most popular devotional books of the 14th and 15th centuries; they would have been repugnant to all but a very small number of Italians, of whom Savonarola would certainly have been one, and Botticelli might well have been another.
Нитхардт М.
Matthias Nithardt
Изенхейм: монастырь св. Антония (~1515 - )
Isenheim in Alsace: monastery of St Anthony
Кольмар (Фр.): музей Унтерлинден
Colmar: Unterlinden museum
with wings closed
with wings opened
with wings opened again discloses
предмет с изображением:
Oil on wood.
The Isenheim Altar is a complicated structure with four layers of painted surfaces - that is, two sets of folding wings, like a double cupboard, enclosing the final altarpiece, which consists of three carved wood statues of saints.
There are also two side panels and a predella. In form, therefore, it harks back to the type of Burgundian and German carved altar of which the Broederlam at Dijon is a classic example.

The Crucifixion is sombre and livid; inside, all is a magic glory of brilliant colour and light, and the final scenes of the Desert Saints are again lurid and eerie, with, in the Temptation, the kind of devil-haunted imagery that permeated Bosch's visions of sin.

Virgin museum
Peter museum
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