Aesthetic Symbiosis and Spiritual Quest: Grünewald’s Isenheim Altarpiece in Hindemith’s Opera Mathis Der Maler

Bruhn, Siglind

doi:10.1007/978-94-017-3411-0_3

Cited by 2 publications

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“…La obra es aún imitada hoy en día en el ámbito médico, como ha sucedido recientemente con el Altar de Keiskamma, que fuera construido como un testimonio de la batalla contra el SIDA en Sud África 37 . Aspectos del valor estético, ético, político y médico del altar de Isenheim han sido comentados por escritores tan variados como J. K. Huysmans, T. Mann, A. Schweitzer, E. Canetti, R. M. Rilke y S. Zweig, el sociólogo y critico W. Benjamin y el compositor P. Hindemith 2,12,15,38 . Este último usó la versión novelada de la vida de Grunewald como inspiración para su famosa y original ópera y sinfonía titulada "Matthis der Maler (Matias el pintor), la que dedicó a Grunewald definiéndolo como "el gran artista que Alemania jamás haya tenido" 38 .…”

Section: El Poliptico De Isenheim La Cultura Alemana Y La Universalunclassified

“…Aspectos del valor estético, ético, político y médico del altar de Isenheim han sido comentados por escritores tan variados como J. K. Huysmans, T. Mann, A. Schweitzer, E. Canetti, R. M. Rilke y S. Zweig, el sociólogo y critico W. Benjamin y el compositor P. Hindemith 2,12,15,38 . Este último usó la versión novelada de la vida de Grunewald como inspiración para su famosa y original ópera y sinfonía titulada "Matthis der Maler (Matias el pintor), la que dedicó a Grunewald definiéndolo como "el gran artista que Alemania jamás haya tenido" 38 . Canetti dijo que la pintura era "un recuerdo de las cosas horribles con que los humanos afligen a otros humanos… Todo el horror que nos espera a la vuelta de la esquina está anticipado en ella" 2 .…”

Section: El Poliptico De Isenheim La Cultura Alemana Y La Universalunclassified

“…El hecho de que el pintor se hubiese casado con una judía tampoco lo hacía, para esa época tenebrosa, un ejemplo de pureza racial y un historiador del arte favorito de Hitler, W. K. Zülch, en la biografía del pintor (1938) 33 ignoró este matrimonio. Hindemith nunca pudo representar su famosa ópera en Alemania, ya que no aceptó modificarla para disminuir en ella, a petición de J. Goebbels and H. Göering, la simpatía que Grünewald demostrara para con las rebeliones campesinas de su época y que estos tildaron de bolchevismo musical 2,38 . En resumen, como dice G. Sebald en el poema citado, "De esta manera Grünewald, de forma silenciosa, consciente y con su pincel, representó los lamentos, los gemidos, el lloriqueo y el doloroso alarido de un espectáculo patológico, al cual él, su arte y su época pertenecían" 33 , y como ha sido señalado repetidamente, este significado de la pintura continúa vigente aun en nuestra época y de allí su interés, actualidad y universalidad 2,20 .…”

Section: El Poliptico De Isenheim La Cultura Alemana Y La Universalunclassified

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El retablo de Isenheim: religión, arte y medicina

Cabello

2018

Rev. méd. Chile

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Northern Europe at the beginning of the 16 th Century was in turmoil as a result of religious and political dissention, epidemics of plague, syphilis, ergotism, and famine, and the threat of the Ottoman Empire. In Alsace, a fulcrum between Germany, France, Switzerland and the Netherlands, Grünewald painted his celebrated and complex altarpiece at Isenheim in a convent chapel of the Antonine religious order that kept a hospital for the care of patients suffering from ergotism, plague, syphilis and other illnesses. The ten paintings of this altarpiece convey a series of religious, medical and political meanings, with the scenes of the Crucifixion and the Resurrection being thought to play an integral part of the curative process. This was because patients could be soothed by comparing their suffering to that of Christ on the cross and could console themselves by the Resurrection. The portrait of Christ in the cross is astounding in its realism and naturalism. It represents, with great pathological veracity, a tortured body in agony, a break with previous traditional representations of this event. Impressive pathological detail is also given to a figure in the Temptation scene. The entire work is suffused with religious connotations provided by the composition, the forms and the richness and sophisticated use of colors. Although Grünewald's paintings are few and the facts of his personal life sparse, it is known he married a Jewish woman, supported the peasant revolts, and was probably a Lutheran in a Catholic area. While Grünewald is considered the epitome of a German artist, the universal projections of his art have influenced physicians and the artistic productions of many painters, writers, musicians and sculptors throughout the world.

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Section: El Poliptico De Isenheim La Cultura Alemana Y La Universalunclassified

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El retablo de Isenheim: religión, arte y medicina

Cabello

2018

Rev. méd. Chile

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Choreographing Kandinsky’s ‘Spiritual’ in Sergei Diaghilev’s Ballets Russes

Bischin

2019

Sæculum

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The purpose of this article is to demonstrate that Wassily Kandinsky’s geometrical paintings were inspired by the ballet world, and by the body movements of the ballerina. Moreover, painting and ballet communicate with each other. And geometry has helped that. Then, the idea of this article starts with the necessity in relating Kandinsky’s Spiritual theory on non-materiality exposed in Über das Geistige in der Kunst with Sergei Diaghilev’s Ballets Russes brought on Parisian scene between 1909s and 1929s. Ballets Russes is the term which names all the ballet representations thought and designed by Sergei Diaghilev after his musical-cultural conflict with Nikolai Rimski Korsakov. Starting with 1907s, Kandinsky had initiated Der Blaue Reiter group and he starts with various drawing techniques. Were favourable years in which Kandinsky’s evolution from simple drawings to sophisticated Compositions got up. We are witnessing a cultural increasement. So, the ballet, the music, the theatre and the painting can not be separated any more or, at least, or, at least, cannot be thought of separately as systems of aesthetic theory. The aesthetic evolution from ballet and theatre had influenced the evolution in painting. What we will try to show as novelty in our investigation, is the kinetic and spiritual relation between Kandinsky’s Compositions and some representations from Ballets Russes by Sergei Diaghilev, especially with the «L’Oiseau de feu». In conclusion, we want to show how the lines designed by Wassily Kandinsky are describing ballet’s movements. The methods used in our research have consisted in the inter-artistic comparison between Wassily Kandinsky’s theory of painting and the ballets designed by Sergei Diaghilev. We also brought a philosophical and personal perspective on both worlds.

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Aesthetic Symbiosis and Spiritual Quest: Grünewald’s Isenheim Altarpiece in Hindemith’s Opera Mathis Der Maler

Cited by 2 publications

References 2 publications

El retablo de Isenheim: religión, arte y medicina

El retablo de Isenheim: religión, arte y medicina

Choreographing Kandinsky’s ‘Spiritual’ in Sergei Diaghilev’s Ballets Russes

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