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Isenheim Altarpiece: The Resurrection | Matthias Grünewald | c. 1512-16

Isenheim Altarpiece: The Resurrection | Matthias Grünewald | c. 1512-16

€32,95
€32,95
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About the artwork:

The right panel of the Isenheim Altarpiece’s second view depicts one of the most dazzling and otherworldly scenes in Christian art: the Resurrection of Christ. Emerging from the tomb, Christ’s transfigured body radiates an intense light that floods the darkness around him, his wounds glowing like rubies. The soldiers guarding the tomb collapse in terror, their armor reflecting the supernatural brilliance that fills the scene. Matthias Grünewald replaces the brutality of the first view with an explosion of color and transcendence — Christ’s once decaying flesh now transformed into radiant light. His luminous body, surrounded by concentric halos of gold, red, and blue, symbolizes both victory over death and the spiritual healing that the suffering patients of the Isenheim hospital sought. It is not a peaceful resurrection, but a cosmic one — fierce, overwhelming, and divine.

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  • Title Isenheim Altarpiece — The Resurrection, right wing of the second (opened) view (Retable d'Issenheim — La Résurrection / Isenheimer Altar — Die Auferstehung Christi)
  • Artist Matthias Grünewald (Mathis Gothart Nithart; German Renaissance painter, born Würzburg c.1475-1480 - died Halle, 31 August 1528)
  • Year of creation c. 1512-1516 (the Resurrection forms the right-hand wing of the second view of the altarpiece, which was opened during the major liturgical feasts of the year, especially those honouring the Virgin Mary. Together with the Annunciation on the left wing and the central Concert of Angels and Madonna and Child, it forms a luminous, jewel-coloured cycle that contrasts sharply with the dark, sombre Crucifixion of the closed first view. In this image the Resurrection and the Ascension are encapsulated as a single event: Christ emerges from the open tomb and ascends into Heaven bathed in a great mandorla of incandescent light that transfigures the countenance of the Crucified into the radiant face of God, his stigmata still visible on his outstretched hands. Below, the Roman soldiers placed to guard the tomb collapse in awe, blinded by the supernatural blaze — a deliberate visual antithesis to the brutal pallor of the Crucifixion panel. For the patients of the Antonine hospital at Isenheim, suffering from St Anthony's Fire [ergot poisoning] and plague, the Resurrection was conceived as a source of consolation and hope, the visual promise that they too might one day overcome their afflictions. The figure of the risen Christ is in turn a near-mirror of the broken corpse in the Crucifixion, the same body now glorified — a transformation of pain into light unique in early sixteenth-century European painting)
  • Technique/Medium Mixed media — oil and tempera — on limewood (linden) panel
  • Original dimensions 269 x 143 cm (the right wing of the second view; some sources round to 269 x 141 cm)
  • Collection/Museum Musée Unterlinden, Colmar, Alsace, France (where the dismantled altarpiece has been on permanent display since 1852, after being transferred from the Monastery of St Anthony at Isenheim during the French Revolution; the chapel of the former Dominican convent that houses the Unterlinden is arranged to display all the panels separately so that all three configurations can be seen simultaneously)

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