Isenheim Altarpiece in the context of "Blaise Daniel Staples"

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⭐ Core Definition: Isenheim Altarpiece

The Isenheim Altarpiece is an altarpiece sculpted and painted by, respectively, the Germans Nikolaus Hagenauer and Matthias Grünewald in 1512–1516. It is on display at the Unterlinden Museum at Colmar, Alsace, in France. It is Grünewald's largest work and is regarded as his masterpiece.

It was painted for the Monastery of St. Anthony in Issenheim near Colmar, which specialized in hospital work. The Antonine monks of the monastery were noted for their care of plague sufferers as well as for their treatment of skin diseases, such as ergotism. The image of the crucified Christ is pitted with plague-type sores, showing patients that Jesus understood and shared their afflictions. The veracity of the work's depictions of medical conditions was unusual in the history of European art.

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👉 Isenheim Altarpiece in the context of Blaise Daniel Staples

(Blaise) Daniel "Danny" Staples (13 July 1948 – December 2005) was a Classical mythologist; a native of Somerset, Massachusetts, he received a B.A. in Comparative Religion and a Ph.D. in Classical Studies from Boston University. He lived in Hull, Massachusetts, with his spouse, Carl A.P. Ruck.

He co-authored with Ruck The World of Classical Mythology: Gods and Goddesses, Heroines and Heroes, which has become a standard textbook. The book The Road to Eleusis: Unveiling the Secret of the Mysteries claims that the psycho-active ingredient in the secret kykeion potion used in the Eleusinian Mysteries was most likely the ergotism-causing fungus Claviceps purpurea. For this book, Staples translated the Homeric Hymn to Demeter and contributed with R. Gordon Wasson, Jonathan Ott, and Ruck to the chapter in which the term "entheogen" was coined as an alternative for terms such as "psychedelic", "hallucinogen," and "drug" that can be misleading in certain contexts. The Apples of Apollo: Pagan and Christian Mysteries of the Eucharist explores the role that entheogens in general, and Amanita muscaria in particular, played in Greek and biblical mythology and later on in Renaissance painting, most notably in the Isenheim Altarpiece by Matthias Grünewald.

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Isenheim Altarpiece in the context of Polyptych

A polyptych (/ˈpɒlɪptɪk/ POL-ip-tik; Greek: poly- "many" and ptychē "fold") is a work of art (usually a panel painting) which is divided into sections, or panels. Some definitions restrict "polyptych" to works with more than three sections: a diptych is a two-part work of art; a triptych is a three-part work; a tetraptych or quadriptych has four parts; a pentaptych has five parts. The great majority of historical examples are paintings with religious subjects, but in the 20th century the format became popular again for portraits and other subjects, in painting, photography, and other media.

Historically, polyptychs were panel paintings that typically displayed one "central" or "main" panel that was usually the largest; the other panels are called "side" panels, or if hinged, "wings". Folding forms were much more common north of the Alps. Sometimes, as evident in the Ghent Altarpiece and Isenheim Altarpiece, the hinged panels can be varied in arrangement to show different "views" or "openings" in the piece, because the wing panels are painted with images on both sides. The wings were usually kept folded shut, showing the "closed" view, except on Sundays or feast-days, or if visitors paid the sacristan for a sight of the "open" view. The upper panels often depict static scenes, while the lower register, the predella, often depict small narrative scenes.

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Isenheim Altarpiece in the context of Matthias Grünewald

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.

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