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Isenheim Altarpiece: The Temptation of Saint Anthony | Matthias Grünewald | c. 1512-16

Isenheim Altarpiece: The Temptation of Saint Anthony | Matthias Grünewald | c. 1512-16

€32,95
€32,95
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About the artwork:

The right panel of the Isenheim Altarpiece’s third view shows The Temptation of Saint Anthony, one of Matthias Grünewald’s most chaotic and visionary compositions. Here, Saint Anthony is violently attacked by grotesque demons that twist, crawl, and swarm around him in a frenzy of color and movement. Each creature embodies disease, decay, and madness — one even bears the same sores that cover Christ’s body in the Crucifixion panel. The scene reflects both the physical torment of the patients who viewed the altarpiece and the spiritual trials of faith itself. Amid the chaos, Saint Anthony remains steadfast, his calm expression contrasting with the monstrous forms that surround him. Grünewald’s use of vivid hues and distorted figures transforms the panel into a hallucinatory vision of suffering and endurance, where horror becomes a pathway to transcendence.

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  • Title Isenheim Altarpiece — The Temptation of Saint Anthony, right wing of the third (innermost) view (Retable d'Issenheim — La Tentation de saint Antoine / Isenheimer Altar — Die Versuchung des hl. Antonius)
  • Artist Grünewald (Mathis Gothart Nithart; German Renaissance painter; born Würzburg c.1475-1480 - died Halle, 31 August 1528)
  • Year of creation c. 1512-1516 (also frequently dated c. 1515. The Temptation of St Anthony is the right wing of the third and innermost configuration of the polyptych — the view revealed when both sets of wings have been opened, and showing on either side of Niclaus of Haguenau's central carved wooden shrine of the seated St Anthony two flanking painted panels by Grünewald: on the left, The Visit of St Anthony to St Paul the Hermit in the Desert, and on the right, this nightmarish image of demonic temptation. This third view was reserved for the feast day of St Anthony, 17 January — the patron saint of the Antonite Order that ran the hospital — and other special occasions linked to the hospital's care of plague and ergotism patients. The composition shows the aged saint thrown to the ground in his rocky desert hermitage, beaten and dragged by a host of grotesque, hybrid daemons — beaked, taloned, hooded, scaled, and dismembered creatures of a kind that anticipates the visions of Hieronymus Bosch but is wholly Grünewald's own. In the lower left corner an emaciated, ulcerated, web-fingered figure with a swollen belly slumps inert — generally interpreted as a depiction of an ergotism sufferer, the disease against which the patients of the Isenheim hospital sought relief, and a vivid reminder of the altarpiece's homeopathic therapeutic function. A small Latin inscription on a slip of paper at lower right reads "Ubi eras, Jesu bone, ubi eras, quare non affuisti ut sanares vulnera mea?" [Where were you, good Jesus, where were you, why were you not there to heal my wounds?])
  • Technique/Medium Oil and tempera on limewood (linden) panel
  • Original dimensions 265 x 141 cm (the right-wing panel of the third, innermost view, paired with The Visit of St Anthony to St Paul on the left wing)
  • Collection/Museum Musée Unterlinden, Colmar, Alsace, France (originally part of the high altar of the Antonite monastery church at Isenheim; transferred to the Unterlinden in 1852 after the Revolution; the altarpiece has been displayed in dismantled form so that all three configurations of wings can be viewed simultaneously in the museum's chapel)

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