To What Extent Does the Original Context of the Isenheim Altarpiece Explain Its Imagery - Article Example

To what extent does the original context of the Isenheim Altarpiece explain its imagery? In the Isenheim Alterpiece, Grünewald produced an art filledwith realism and symbolism and applied this to crucial figures of spirituality. Natural laws were sometimes ignored in dealing with spiritual material and altered biblical sequence of events just to portray the message, as in the presence of John the Baptist as witness to the Crucifixion. Old ideas and common beliefs were common in late medieval German art which was also characterized with emotional, spiritual, and illogical aspects of religious themes. This was opposed to the calmness, formal beauty, and local Renaissance Italy. Mystery describes the altarpiece imagery as this Renaissance art is a mix of symbolism and realism. Scholars have tried to dissect its imagery and meaning focusing on the scenes and the history of Isenheim as a monastery dedicated for the care of the sick; the message of disease and healing is not lost. But taking aside the spiritual goals and background, the Isenheim Altarpiece has been the subject of political and ideological tussles with countless researches after its 1919 exhibition in the Alte Pinakothek in Munich when pilgrims went to see the mysterious images. (Stieglitz 1993) As pictures of the altarpiece were circulated throughout the world, it was the picture of the Crucifixion that caught everyone’s imagination because it became the symbol for the martyred Germany, as if the crucified Christ represented the anguish of the German people (Stieglitz 1993). But the political propaganda only shrouded the real explanation behind the imagery. Beattie (2007) associates the painting to the heavenly liturgy, that in this great liturgical art, we can rediscover the neglected mystery of the Eucharist. The altarpiece helps us understand its being a vehicle in the healing process and as a reminder about life in the face of death (Hayum 1997). Hayum (1997) describes the Isenheim Altarpiece, providing a diagram of the three levels of the altarpiece: the closed state, with the crucifixion, and on the wings are Saints Anthony and Sebastian; the open state which has the haunting figure in the foreground of the Temptation of Saint Anthony, with a bloating stomach, inflamed boils, and weakened arm. The meeting of Saints Anthony and Paul has a background of plants and herbs which were identified as herbal or medicinal plants. As a whole, the history of the Isenheim Altarpiece is related to the hospital context; it was commissioned for the church which was connected to the hospital. Tthe closed state has its wings both Saints Sebastian and Anthony who had long been linked with the warding off of disease (for Sebastian) and healing (for Anthony). This is central to the meaning of the altarpiece which functioned in the healing program at the monastery and usually associated with the practice of healing during the medieval times. Likewise, the institutional context of the Isenheim hospital convent is adequately established and the visual references to sin and temptation as well as to physical disease and suffering are fully noted. The Antonite monastery for the care of the sick was founded by Saint Anthony. Similar paintings have been related to the altarpiece and the most important is Roger van der Weyden’s Last Judgment Altarpiece at Beaune which Hayum (1997) used as one of the major sources for providing an explanation to his article. He also referred to the statutes of reform of the order of 1478 and history of the Antonites by Aymar Falco written in 1534 (Hayum 1997, p. 503). In the sixteenth century, diseases were on epidemic proportions as medicine was still very primitive; sickness eventually deteriorated and sick people faced imminent threat of death. Medicine people practiced more on alleviating illness instead of restoring health. The hospital always had a connecting church. The Isenheim church was strategically located near the hospital, which was ‘for poor sick people, with a chapel in the Lord’s honor’ (Hayum 1997, p. 505). More than its message healing, the painting also reflects the story of redemption. Man could not redeem himself as he needed a God-man to make him return to God. Part of the story of redemption is the evil’s beginning. Lucifer’s pride made the fall and so he was forced out of God’s kingdom to tempt Adam and Eve whose sin contaminated the entire mankind into what we call the original sin. In the painting, Grünewald begins the story of redemption with the entrance of Lucifer, who is portrayed as the ‘greenish, all-feathered creature’ (Mellinkoff 1988, p. 19). Embedded deep in the Christian psyche is the belief that Lucifer is the instigator of evil. This has been portrayed in the Christian literature, drama and the arts. Lucifer is the beautiful angel who led the other angels to rebel against God because of pride. The origin of evil has always been attributed to Lucifer; for example, Hildegard of Bingen (as cited in Mellinkoff, 1988, p. 19) attributed Lucifer as the origin of evil in some of his works. Lucifer, the leader of the great rebellion in heaven, brought wrath upon the earth. The details of Lucifer’s story, though not biblical, are part of the medieval literature on redemption. When a literature or drama tells the story of redemption, it begins with the fall of Lucifer and the rebellion of angels. German plays carried some teachings of Christian doctrine which are about ‘the Fall, Atonement, and Resurrection’ and begins with the story of Lucifer’s Fall (Mellinkoff 1988, p. 19). The painting is like a story told in connected chapters, a brief story of redemption: the Annunciation, Crucifixion, and Resurrection. Since the altarpiece was meant to be displayed in a church with a connecting hospital, it was deemed that most of its spectators were patients of the hospital and their families. The patients of the Isenheim hospital were called ‘special laymen’. In 1478, there were reforms introduced of the Antonite order on the observance in the church and hospital. The patients were asked to recite twelve Our Fathers and as many as Ave Marias (Hayum 1997, p. 505). The patients were made to contemplate on their physical and spiritual condition and that while they were suffering there was hope for healing in Christ. Pain is a part of suffering and this is depicted in the painting. Pain separates its victim from the physical world. In Grunewald’s masterpiece, the viewer is confronted with the reality of pain, but there is a recommended alleviation. With the picture of the devil as human-looking, the patient is made to feel fear and pity because of the devil’s gruesome and helpless state. The choir of angels and the nativity are flanked by the representations of the Annunciation and Resurrection. This appears in the centre of the first opening which tells that this is a primary part of the Christian theme of redemption. The Annunciation proclaims man’s salvation, with Christ’s birth at the centre and the Resurrection at the right which is the fulfilment of redemption. (Melinkoff 1988, p. 16) A controversial figure present in the painting is Saint Anthony who seems like a high priest and judge in the centre. In those times, Saint Anthony was regarded as having power to dispense judgment and heal the sick. But while he has powers, he is also tempted and monsters attacked him in his nightmares. A holy scene is presented when Saint Anthony meets Saint Paul with plants and herbs in the background, a picture of healing. Another controversial figure is John the Baptist, who appears to the right of the crucified Christ. Scholars are intrigued by Grünewald’s message for this part of the painting. But Hayum (1997) interprets this as the message of Baptism. John the Baptist stands in front of a body of water in the background of the scene, so Grünewald is referring to the baptism by means of water instituted by John and Christ’s baptism of for the forgiveness of sins. Water is very important in baptism just as it is important in the healing process. The physical and spiritual healing by water is specified in the bible. Healing by means of water became popular at the turn of the sixteenth century. Mineral baths or baths in thermal springs were in vogue. Monasteries were built on or near mineral springs with monks as guardians. Saint Anthony’s Fire, the sickness that was popular and usually treated during the medieval times, was treated with some form of mineral bath. The use of water in baptism was popularized by John the Baptist and during the time when he announced the divinity of Jesus Christ. In the closed stage of the altarpiece, Christ’s divine nature and human aspect are well presented, and this dual nature is presented as good model for the patients in the hospital. In baptism with water, there is the symbol of the wood of the cross and the waters of life. When Christ was struck with a spear of the Roman soldier, he shed the ‘water of life’. A closer examination of the Concert of Angels-Nativity scene provides the real imagery Grünewald wants to establish, i.e. the painter tells the reason why redemption was necessary in the first place, at the same time putting some touches of beliefs during those times in the Middle Ages and the Renaissance. Melinkoff (1988) identifies the strange feathered creature as Lucifer, perceived by scholars as a cherub or a seraph, and whose form and color differ from the other two angels in the concert. Lucifer is completely covered by feathers, or some of his hair is transforming into feathers, while the other angels only had feathered wings. The crucifixion in the altarpiece, portrayed in its closed position, is a unique work of art; many commentators suggest that it is the work of a genius. The depth of meaning of the crucifixion is reinforced with the color red. The background is a dark sky as John the Baptist appears witness to the crucifixion. The crucified Christ is described here by Arthur Burkhard (as cited in Beattie, 2007): ‘There is no trace of transfiguration, no stoic resignation, no heroic struggle, no serene superiority’ (p. 177). In other words, Christ is seen as completely human; this portrays the time when Christ ‘went down to hell’. The imagery is very symbolical and deep that a Christian can contemplate what happened down there some two thousand years ago. Mary Magdalene and the Virgin Mary have two contrasting colors portrayed in the painting: the Virgin’s white robe signifies ‘not virginal purity so much as the bleaching of death – contrasts with the vibrant colours of Mary Magdalene’ and the two are a metaphor for the human condition – ‘the Virgin Mary in a state of primal whiteness awaits the vitality that is signified by the colours surrounding the risen Christ in the Resurrection wing,’ (Beattie 2007, p. 179). Magdalene’s color resembled the broken meanings of our humanity which is relieved by the sparkle of the resurrection. Humanity is represented by the two women in the altarpiece. (Beattie, p. 179) Hayum (1997) describes the demon as predominantly not having wickedness but ‘deformity and pathos’ with St. Anthony’s words written on a piece of paper, ‘Where were you, good Jesus, where were you? Why were you not there to heal my wounds?’ This may also refer to Jesus’ last words when he felt he was abandoned by God. Melinkoff (1988) describes Lucifer as not frightening but reminds us that this angel was the most beautiful angel before he fell. In some ancient Christian literature, the emphasis on Lucifer is on his being an angel than on fallen. In the painting, Lucifer is a suffering angel, not the arrogant one who wanted to usurp God’s throne. Could this not be another ploy of the devil so we’ll have pity on him and sympathize with him? But the painting is for the patients to contemplate and ponder upon God’s message in the bible and the story of redemption. It tries to tell the patients that the devil can be strong but it is not match with God’s power. The picture of Lucifer and his pitiful state could not just make an impact on us; rather, the picture of Christ might make an indelible mark on our soul. The visual image can be intimate and healing might occur. This was related in an article by Stieglitz (1993) about the experience of a Russian dissident, Bärbel Bohley, a pro-democracy leader who became a Green Party MP in the 1990s. This dissident, who was a believer, narrated how as a child she was fascinated at the altarpiece, particularly at the Angels’ Chorus from the second opening, and that because of the painting she came to understand what angels were like. As she grew up, with many struggles in life, she came to see the altarpiece at last. She had a chance to ponder upon the image of the crucified Christ from the closed, front panel, which really made an indelible mark on her. The experience of the images was intimate as she was healed and it helped her through her long years of exile in 1988. (Stieglitz 1993, p. 173) From a remarkable piece of art to a political and ideological propaganda material to a symbol of Christian faith, the Isenheim Altarpiece has indeed metamorphosed. It was originally used for patients who needed physical healing but the original founders’ goals were for the patients to accept death. The healing they needed was spiritual healing as a preparation for their entry into the second life. In the current concern for the meaning of this imagery, we might as well return to the original concept of the painting, that in order to attain physical healing, we need to have spiritual healing and accept death as part of life. References Beattie, T 2007, ‘Insight beyond sight: sacramentality, gender and the Eucharist with reference to the Isenheim Altarpiece’, The Dominical Council/Blackwell Publishing Ltd., viewed 8 February 2014, via Academic Search Complete database, EBSCOHost, DOI 10.1111/j.1741-2005.2006.00142.x. Hayum, A 1997, ‘The meaning and function of the Isenheim Altarpiece: the hospital context revisited’, The Art Bulletin, viewed 7 February 2014, via Academic Search Complete database. Mellinkoff, R 1988, The devil at Isenheim: reflections of popular belief in Grünwald’s altarpiece, University of California Press, Ltd., London, England. Stieglitz, A 1993, ‘Exorcizing the devil: a recontextualization of Grünewald’s Isenheim altar’, Art History, vol. 16, no. 1, pp. 173-178, viewed 10 February 2014, via Academic Search Complete database, EBSCOHost. Read More