For nearly five
hundred years it takes the Issenheim altarpiece remains of this
masterpiece miraculous striking crowds by his unique
charisma, between realism and fantasy psychedelic. In the
Middle Ages, the unfortunate pustular, seek treatment from the
convent of Issenheim, Alsace, were asking the intercession of St.
Anthony, reputed to cure motion sickness ardent. The brothers Antonins
of Issenheim were indeed specializing in the treatment of the disease
caused by ergot. The artwork, closing Antoine statues and other holy
figures, took the form of a sort of "great" cabinet (2.90 m high and
3.30 m wide) with two sets of double wings painted on both sides, open
during major religious festivals. Since 1853, the altar was installed
at the Museum of Unterlinden (Colmar), and has been reassembled so that
all the sculptures and panels are exposed. In imposing the silence of
the chapel of the museum, it remains literally amazed by this senseless
maelstrom of color, earthy or fresh, these hybridizations styles
(Gothic and Renaissance), this unique fluidity that takes meticulous
realism (a coat of mail , for example) to the supernatural craziest
(monsters) in all poetry. It has long been thought that the altarpiece
panels, painted between 1512 and 1516, were the work of Albrecht
Dürer, although a historian has assigned the work, in the
seventeenth century, at a certain Matthias Grünewald, a name
invented to the occasion. The artist, whose biography is almost
unknown, in fact, called Mathis Nithart Gothart (born in Germany to
1475-1480, died in 1528), but the name has remained Grünewald.
It has long been believed that the statues were carried out by the
Strasbourg Nicolas Haguenau, was earlier a decade to painting. A
campaign of scientific research, conducted between 2000 and 2004 and
followed by a symposium in 2006, has lifted many sails on the work
without mitigate its aura. In the crypt of the museum, the exhibition
marks the conclusion that these years of research strengthens the
miracle Grünewald. Nine drawings by her own hand, often
double-sided, of the thirty identified so far in the world, are faced
with some forty drawings of his illustrious contemporaries, Hans
Holbein, Albrecht Dürer, Hans Baldung Grien, Lucas Cranach the
Elder, Albrecht Altdorfer and even Leonardo da Vinci, whose studies of
drapery, literally "inhabited" strongly evoke those of
Grünewald - but there is no evidence that he has traveled in
Italy. Such a meeting, given the fragility of the works and their
spread in various museums abroad, is exceptional, and it will certainly
not be renewed. For the first and only time, the preparatory drawings
in which you feel the hand that draws the finger that blurs the
charcoal, these sketches and these studies are grouped together to
relive the dynamic running of a genius remained in the shadows, but
whose masterpiece has survived centuries without any alteration.
Another mystery that science clarifies, but taira here on the reasons
well explained in the exhibition.