Matthias Grünewald

Matthias Grünewald 
Monday 1 June, 6pm.

For the first time in quite a while I am giving a talk that is not related to a current exhibition – and more’s the pity! I would love to see a Grünewald exhibition, but given that only ten paintings and thirty five drawings survive that might be tricky – especially as several of the paintings are polyptychs, and should probably not be moved!

Believed to have trained with Albrecht Dürer, his style developed far from that of his master, effectively forming a continuation of the late medieval gothic tradition, rather than adopting the ideals of the renaissance - nevertheless, the emotive values contained within his work mean that he is still firmly part of the Germanic Renaissance. Although the status of some of his commissions suggest he experienced considerable success, his name was soon forgotten, and, despite the stylistic differences, his work was often attributed to Dürer. Like so many other artists, he was rediscovered in the late 19th century, and his surviving oeuvre is now clearly defined – yet to this day the details of his life and career are anything by clear. However, the work that does survive speaks for itself, and should be better known. 

My interest in him stems from my bucket-list ambition to see his famed Isenheim Altarpiece, which has made its way to Colmar, birthplace of Martin Schongauer, who I will have talked about on 18 May (my ambition has finally been fulfilled this year thanks to the good graces of Artemisia, who have allowed me to take a group to see it). During the talk we will discuss this astonishing work in depth: it may count as ‘one’ painting, but as a polyptych it includes two ‘openings’, with nine images on twelve different panels. We will also consider the other 9 surviving paintings (in presumably less depth), as well as a scattering of drawings – as many as time permits. 

Please remember, I do not record my talks.