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Was sagte Paul Klee ber Matthias Gr newald? ""Er erschreckte mich furchtbar."" Und der Amerikaner Arshile Gorky? ""I like Grunewald."" Es ist spannend, welche Urteile ber Gr newald gefällt wurden. Der Bogen reicht von Goethe bis zu Beuys und Baselitz. Das Hauptaugenmerk beanspruchte der Isenheimer Altar. Dieses Werk von Matthias Gr newald ist einer der ber hmtesten religiösen Bildkomplexe der Kunstgeschichte berhaupt. Vor 500 Jahren ist er vollendet worden - und hat die Menschen in den Bann gezogen bis heute.

On the occasion of its centennial anniversary, the German Verein für Kunstwissenschaft has compiled all of Renaissance master Matthias Grünewald's known drawings in this opulent volume, which is filled with exquisitely reproduced color plates, complete with critical commentary. Grünewald's 40 surviving studies are some of the most important discoveries of German Renaissance art. Uncovered by art historian Max J. Friedländer, who posits Grünewald's technique as an antipode to Albrecht Dürer's, this publication is the latest example of nearly a century of groundbreaking drawings editions produced by the Verein für Kunstwissenschaft--the first volume of which, a complete edition of Grünewald's known drawings at the time (1927), has long been out of print. Later editions featured the work of artists such as Martin Schongauer, Albrecht Dürer, Hans Baldung Grien, Hans von Kulmbach, Hans Schäufelein and Lucas Cranach the Elder. The work of Matthias Grünewald (c. 1475-1528) was nearly forgotten until the twentieth century; only a dozen paintings and these drawings have been found. His masterpiece, the Isenheim Altarpiece (c. 1513-1515), was long believed to have been painted by Dürer.

On the occasion of its centennial anniversary, the German Verein für Kunstwissenschaft has compiled all of Renaissance master Matthias Grünewald's known drawings in this opulent volume, which is filled with exquisitely reproduced color plates, complete with critical commentary. Grünewald's 40 surviving studies are some of the most important discoveries of German Renaissance art. Uncovered by art historian Max J. Friedländer, who posits Grünewald's technique as an antipode to Albrecht Dürer's, this publication is the latest example of nearly a century of groundbreaking drawings editions produced by the Verein für Kunstwissenschaft--the first volume of which, a complete edition of Grünewald's known drawings at the time (1927), has long been out of print. Later editions featured the work of artists such as Martin Schongauer, Albrecht Dürer, Hans Baldung Grien, Hans von Kulmbach, Hans Schäufelein and Lucas Cranach the Elder. The work of Matthias Grünewald (c. 1475-1528) was nearly forgotten until the twentieth century; only a dozen paintings and these drawings have been found. His masterpiece, the Isenheim Altarpiece (c. 1513-1515), was long believed to have been painted by Dürer.

Matthias Grünwald's world-famous Isenheim Altarpiece ranks among the most powerful expressionistic works of the Northern Renaissance. Characterized by great emotional force, exquisite handling of color and brilliantly interwoven subtleties of Christian iconography, the multi-paneled altarpiece has remained the object of intense scholarly interest and the main attraction of the Musée d'Unterlinden in Colmar, France.Ruth Mellinkoff offers an original analysis of the altarpiece, uncovering the late medieval popular beliefs that underlie its unusual visual content. She places its rich imagery within a tradition of Christian art, and stunningly, discovers Lucifer among the angels observing the Nativity.

Neuware - Die Gemälde des Isenheimer Altars gelten als Hauptwerk des Malers Matthias Grünewald und zugleich als eines der Hauptwerke der deutschen Malerei. Grünewald und der Bildschnitzer Niklaus von Hagenau führten den Altar etwa zwischen 1512 und 1516 für das Antoniter-Kloster in Isenheim aus, einem kleinen Dorf in der Nähe von Colmar. Das zunächst für den spezifischen Kontext der Arbeit des Antoniterordens geschaffene exzeptionelle Werk geriet ab der zweiten Hälfte des 19. Jahrhunderts in den Blick von Kunsthistorikern und Künstlern und erlebte in der Folge eine stürmische und äußerst fruchtbare Rezeption in der Bildenden Kunst, in der Literatur, in der Publizistik, in der Musik und auch in theologischen Debatten. Die Samstags-Uni Freiburg stellte deshalb den Isenheimer Altar ins Zentrum ihrer zwanzigsten Staffel, und zwar sowohl als für sich stehendes außergewöhnliches Kunstwerk als auch in seiner Wirkung in der Literatur, in der Musik, in der Theologie und natürlich in der Malerei selbst. Das Buch versammelt die Beiträge der Vortragseihe.

Learn about key elements of character art from traditional and digital illustrator, Simone Grünewald. Simone, also known as “Schmoe”, creates heart-felt and personal designs inspired by her everyday life experiences and passion for the arts. As a new mother, she also draws on her humorous experiences of bringing up a small child in the modern world. Discover in-depth visual breakdowns of Simone’s techniques as well as a varied and extensive collection of Simone’s stunning art. From linework advice to character design considerations, Simone generously shares her creative practice. A book that appeals to artists at every stage of their creative journey, this title teaches how to avoid common mistakes and pitfalls, as well as how to improve technique. Feel motivated to practice every day to develop engaging characters of all shapes, ages and sizes. With special focus on developing dynamic poses and expressions, Simone’s advice will ensure that you create emotive characters with energy and personality.

Andrée Hayum approaches Matthias Grünewald's Isenheim Altarpiece, now at the Musée d'Unterlinden in Colmar, as a structural and iconographic entity and restores it to its broader cultural context in the early sixteenth century. She interprets the altarpiece in terms of its hospital context, then explores how this polyptych functions as a system of communication, in relation to contemporary sermons and in response to an emerging print culture. The meaning and motivation behind the direct visual appeal of the Isenheim panels are considered within the liturgy and the sacramental economy.

Presenting far-reaching new therapeutic research, Peter Grünewald examines the underlying spiritual aspects of constitutional treatment using mineral remedies. This approach, used in the treatment of chronic physical, neurological, developmental, emotional, behavioral, and mental conditions and illnesses, centers on a system of nine main minerals. Grünewald traces these nine substances on their paths through the human organism, and demonstrates their indications, effects and interactions. He also develops a spiritual and alchemistic understanding of the working of these substances, based on anthroposophical medical research. Gold (the sun metal) and carbon (the substance of organic life on earth) occupy a central position in this study of the mineral system. The Philosopher’s Stone is achieved through the "transformation of carbon" and the "creation of gold." The author shows how the important medicine Aurum (made from gold) relates to this process. He suggests that a mineral therapy centered on the principle of transformation conceals future spiritual mysteries that relate to evolutionary laws inherent in the physical and higher bodies.

Andrée Hayum approaches Matthias Grünewald's Isenheim Altarpiece, now at the Musée d'Unterlinden in Colmar, as a structural and iconographic entity and restores it to its broader cultural context in the early sixteenth century. She interprets the altarpiece in terms of its hospital context, then explores how this polyptych functions as a system of communication, in relation to contemporary sermons and in response to an emerging print culture. The meaning and motivation behind the direct visual appeal of the Isenheim panels are considered within the liturgy and the sacramental economy.

Learn about key elements of character art from traditional and digital illustrator, Simone Grünewald. Simone, also known as “Schmoe”, creates heart-felt and personal designs inspired by her everyday life experiences and passion for the arts. As a new mother, she also draws on her humorous experiences of bringing up a small child in the modern world. Discover in-depth visual breakdowns of Simone’s techniques as well as a varied and extensive collection of Simone’s stunning art. From linework advice to character design considerations, Simone generously shares her creative practice. A book that appeals to artists at every stage of their creative journey, this title teaches how to avoid common mistakes and pitfalls, as well as how to improve technique. Feel motivated to practice every day to develop engaging characters of all shapes, ages and sizes. With special focus on developing dynamic poses and expressions, Simone’s advice will ensure that you create emotive characters with energy and personality.

A obra do carioca José Lino Grünewald (1931-2000), amigo e companheiro de primeira hora dos poetas do grupo concreto paulista, integrante do grupo Noigandres, vem sendo objeto de crescente interesse e reavaliação. A editora Perspectiva publicou, em 2002, na coleção Debates, ''O Grau Zero do Escreviver'', seleção de seus artigos de crítica literária, a cargo de José Guilherme Correa. Escritor e jornalista (1943), um dos mais caros interlocutores do poeta, da geração mais jovem, José Guilherme vem se dedicando a organizar, com a cooperação de Ecila de Azeredo Grünewald, viúva do poeta, os seus vários textos ainda dispersos. O presente volume, também por ele compilado, reúne praticamente toda a poesia de José Lino Grünewald. Ao material dos livros que o poeta publicou, ''Um e Dois'' (1958) e ''Escreviver'' (1983), ora revistos segundo os critérios gráficos originais, acrescenta-se um conjunto de inéditos - alguns nunca difundidos, como os excertos das "cartas-cantos", em estilo poundiano, onde destila o seu humor, comentando eventos e personagens de seu círculo e de sua época. O livro inclui também os pós-fácios de Décio Pignatari e do próprio José Lino à primeira edição de Escreviver; um artigo em sua homenagem, de minha autoria; e um texto críticocriativo do organizador e prefaciador, que dialoga com as cartas-cantos. Esta coletânea repõe, assim, em circulação, a obra poética de uma das vozes mais expressivas de sua geração. José Lino Grünewald, José Lino, Zé Lino, Zèlino ou Zelino, como é muitas vezes referido neste livro, aparece aqui, em todas as vertentes de sua poesia, sonorista e visual, mas também emotiva, participante, irônica e às vezes cáustica. Deu-se especial atenção ao projeto gráfico dos seus poemas. Em suma, estes textos, que refletem, em essência, a personalidade singular do autor, inesquecível para os que o conheceram, abrem-se agora, em corpus integral, a todos os que se interessam por poesia entre nós.