Stuppach Madonna

The Stuppacher Madonna is a painting of Mary by Matthias Grünewald. It is located in a purpose-built chapel at the Parish Church of the coronation in Stuppach, a district of Bad Mergentheim, and is next to the Isenheim altar to Grünewald's major works.

• 5.1 image statement: Mary as Mother of the Church
• 5.2 The smile of Mary and the child's play
• 5.3 The tree
• 5.4 The Cathedral and the sea
• 5.5 The crown -less Mary and the closed gates

• 7.1 To Stuppacher Madonna
• 7.2 About the painter Matthias Grünewald

Genesis

The genesis of the Stuppacher Madonna may be regarded as settled. Due to a closed in 1515 contract in the estate of Grünewald and the inscription on the base of the frame in Aschaffenburg Collegiate Church of St. Peter and Alexander is assumed that the Aschaffenburg Stiftskanoniker Heinrich Reitz man has given the image by the artist in 1514 in order. It was while working on the Isenheim Altarpiece in his local workshop. This means that the similarity is explained by the Isenheim Madonna. Matthias Grünewald designed the background with images that he saw daily. The church is regarded as covered the facade of the south transept of the Strasbourg Cathedral. The group of houses next to it was the Antoniterhof in Strasbourg (Bernhard Saran ). The painting was a devotional image for the new chapel (now Lady of the Snows Chapel ) determined in the collegiate church at Aschaffenburg. It should be mounted on the wall behind the altar. The chapel was built by Kaspar Schantz and his brother George. At its dedication on October 21, 1516 by Archbishop Albrecht of Brandenburg, the image is most likely already in its intended place was because it was in 1517 referred to as already completed. It was painted on softwood boards of excellent quality. In the lower part, these are covered with a very fine fabric. For the color pigments sat Grünewald different temperatures as a binder, which is why you referred to this painting as mixed media.

The Mary Snow altar of the Madonna as a means of image

1517, the Aschaffenburg Stiftskanoniker Heinrich Reitz man could fulfill a long cherished dream. He ordered at Grünewald an image depicting Snow Wonderland. According to legend, it was Maria snow in midsummer, to indicate where and how the church of Santa Maria Maggiore was to be built in Rome. The foundation was made out of Reitz 's excessive devotion to Mary. As he wrote in his will, dated August 5, 1517, the picture for 25 guilders should be made ​​by the artist and " to the already completed panel (meaning the Stuppacher Madonna) are suspended in said new chapel ." Probably was found no appropriate location for the image in the small room. The only adequate solution could be seen at that time apparently is to reshape the devotional image to a triptych and to set the picture as snow wonder wing it. Like most of the contemporary devotional pictures, it probably had a semi-circular base field. That could have been congruent with the still existing header field and was determined as meticulous and delicate carved. Due to the low ceiling height, it had to be removed and was replaced by a low frieze-like beams. The run is considerably plumper than the upper frieze, which is clearly recognizable as a subsequent addition. A third sheet mask worked similar and revised as the top two will be kept in the pen treasure. It seems to originate from the remote base field.

Grünewald now had to fit on a narrow altar wings, the commissioned work of Reitzmann. In the so necessary, now lost left wing he made probably the three founders of the altar and chapel in front of an unknown background dar. After the necessary modifications of the framework was found to be reredos of the altar table. With the two wings images so created 1517-1519 Mary Snow altar. This is confirmed by the inscription on the altar base and in the segment, where first appeared the Titularnamen the chapel. Also, gives a description of the altar from 1803 the disclaimer, that the snow miraculous image was actually attached as wings on the middle image (then already Epiphany Picture of Sartorius, ). The Madonna and the snow wonder wing came probably from the same master. However, they were painted in a time interval of about two years and under different assumptions. They came from two different foundations. The leaders of that time made ​​probably no great thoughts, whether the two pictures would match in the forced merge to a reredos in to color, artistic, theological or mystical form. They wanted to create only one place for the snow miraculous image in the chapel with her decision. Based on this description, all reflections on a thematic unity of the Stuppacher Madonna and Snow Festival from the table. In the maps can not be sought in common, as they were painted as disjointed frames. The backs of the folding panel with the epiphany and who later stand -down wings were executed by an unknown artist. The decisions taken with sheet iron pin holes in the original frame also confirm that to the frame of the center image wing images were installed. The different image heights and widths also can be combined easily to the Altar, as it proves the reconstruction calculation based on the frame dimensions to HA Schmidt. Marie Picture: Today 186x150 cm. Originally approximately 195x161 cm. with a visible image area within the framework of approximately 191x157 cm. Snow Wonderland: 176x88, 5 cm. In order to cover the Madonna and the wide side frame with the weekdays side of the wing pictures, got the wing a 9.5 cm wide frames. All measurements are approximate measures of the reconstruction.

From Aschaffenburg to Stuppach

The Stuppacher Madonna has already taken around 1531 out of the frame because of Mary Snow altar was called from this year Dreikönigsaltar This means that the folded- wing replaced the center image. The further fate of the image is dark. In 1809 it was discovered in the chapel of the former German Order castle in Mergentheim in the dissolution of the Order. 1812 bought Balthasar Blum Hofer, pastor of the German Order of parish Stuppach, the picture for his church. It was then attributed to Rubens. 1854, the church was remodeled neogothic. The integrated in the new high altar frame for the picture turned out to be too small. It therefore had to be trimmed on all sides. In 1881 it was detected at a restoration as a creation of Grünewald. This delighted the Stuppacher not particularly because the name " Rubens" had a better sound than the few specialists common name "Green Forest ".

The hand drawing of Grünewald " Madonna winning with winged child," which is referred to as a study for Stuppacher Madonna is in the Print Room in Berlin. Are still visions of St. In the image. Birgitta of Sweden and interpreted into individual objects attributed to a symbolism which, although iconographically correct, the intention of the painter ago but nowadays can not be certainly proved. The hl. Bridget of Sweden lived from 1303 to 1373, and scourged with their visions of the circumstances of their time. More naturalistic motifs, such as the rainbow as a nimbus with the color spectrum is beehives and lilies, also are typical fads in the painting of the decaying Gothic ( Anton Kehl).

Basically, the painting will not be awarded for conservation reasons. Only during the restoration of the chapel Stuppacher left the church the image 1998/99 in the State Gallery of Stuttgart and the Diocesan Museum Rottenburg exhibit. This was the only change of location of the image since 1931. Between 6 September 2011 to 8 January 2012, was in the exhibition " Heavenly Splendour. Raphael, Dürer and Grünewald paint the Madonna " of the Vatican Museums and the Old Masters Picture Gallery in the Semper at the Dresden Zwinger shown. Given the state of this painting (the President of the Restorers Association Volker Schaible speaks of a " ruin " ), this loan was controversial.

Restorations

The image was, since it is in Stuppach, six restored last 1926 until 1931. Following the decline of painting over the five centuries resulting in desolate condition of the image was revealed. The damage to the Madonna shows that at that time no longer existed an undamaged or unprocessed game. Thus, the non- original figure of Christ has been removed in the clouds and replaced by a god father, who was modeled after the Isenheim Altarpiece.

The painting was 1833-1931 a total of five times restored. Before the last renovation 1926-1931 in Stuttgart, the painting was in very poor condition. The art historian Wilhelm Fraenger wrote about the then state:

The restoration in Stuttgart, which was made ​​by the conservator of Joseph Tettenborn is extensively occupied because a photo documentation of it exists. The restoration has corrected many of the previous damage to the work, however, was at one point not very original factory. Based on a preliminary study Grünewald, which today is located in the Graphic Collection of the Stuttgart State Gallery, the art historian Ziermann assumes that in particular the halo was changed. This shows, in a preliminary study of Christ as ruler of the world, carrying a cross -winning globe and in the right a scepter in his left hand. The cross on the top of the scepter, which has the same shape as the cross at the garden gate, has him as her heavenly Spouse of the Virgin. From his throne wearing a crown two angels in order to bring Mary as Queen of Heaven. The current over-painting, however, shows a God the Father, which is surrounded by a multi- host of angels. In the 1980s, a coating was applied to the panel without historic preservation participation, conservation adversely impact on the underlying layers of paint, the painting gave an unnatural shine and unevenness of the paint layers optically amplified. The coating was removed in 2012 as part of a comprehensive conservation inventory and restoration at the State Conservation Office in Esslingen.

Image construction

The painting is divided into two halves by a diagonal from bottom left to top right. The right-hand side, at the Cathedral, which is among other things, will look darker and heavier. She seems to be in closer proximity to the viewer. The left side appears by their color brighter and more ethereal. A second point of view diagonal, which is less visible, running from bottom right to top left of the coattails of the hair up to the clouds. Optical center of the picture is the Madonna and Child, which forms a triangle with its outspread mantle. The tree on the right side follows in light vibration of their body contour. Her head is located at the intersection of the two diagonals. Exactly in the physical center of the picture are the hands. Against the background of the shell they form the strongest light-dark contrast in this image.

Image objects

The detail painted picture showing Mary, sitting on a curbstone or a bank. She wears her long blonde hair loose and no crown crowns her head. The head is facing the child standing on her lap and she reaches a fig with the left hand. With her ​​right hand she holds the baby Jesus, the fingers are splayed in an unnatural position. With just unnatural Fingergestik the child engages in fig direction and simultaneously has his fingers on the tree shown. Above the head of Mary is to bend a rainbow, including a hinted halo. At the upper left of the screen opens the heavens; God the Father and angels are recognizable.

To the right of Mary is a tree whose crown is cut off by the top of the screen. He wears the same leaves, flowers and fruit. At the root of the tree is a vessel with flowers. To identify clearly are roses and Madonna lilies. In the background of the tree with a cathedral jutting buttresses can be seen, which is partially cut off from the right edge of the picture. Art historians have discovered in the illustrated Cathedral both details of Strasbourg Cathedral, the Collegiate Church in Aschaffenburg and the Mainz Cathedral.

On the left is a porcelain dish, in which a rosary lying, and a pitcher. In a fig tree is seen, which winds around a wooden cross, and behind it a garden with a closed gate in a cross shape, hives and above a landscape with a village - it is to concern Blessed City - mountains and in the distance the hint of the sea.

Imagery

Image statement: Mary as Mother of the Church

As is typical of paintings of this time, most of the objects shown in this carefully composed image of possessing a deeper symbolism. The allegory here is, however, very complex, refers to many mystical symbols such as those described in the visions of St.. Birgitta of Sweden and are called in German mysticism play a role. The image thus stands out from contemporary depictions of the Madonna. The symbolism of individual items reveals itself only partially related to the symbolism otherwise shown on the image objects and leaves room for a number of different ways of reading. The imagery used was familiar to at least a part of the contemporary theological formed of Grünewald. In addition to pure representation of the Madonna and Child that was the image as a meditation aid for religious content.

Art history is now widely accepted that the numerous details of the image to point out that Green Forest paintings is to be interpreted as a representation of Mary as Mother of the Church. Berta Reichenauer wrote this:

The smile of Mary and the child's play

In the unbiased observer affects the slight smile of Mary, which can be seen on many medieval depictions of the Madonna, as the holding of the subjective feeling expression of a self-absorbed mother playing with her child. It appears in a similar way, for example in Raphael's " Madonna of the Meadow " or Leonardo da Vinci's " Virgin of the Rocks ". This picturesque as frequently detained smile that occasionally acts corny to many contemporary viewers, is the picturesque expression of an ancient theological reflection. Even the Church Fathers and mystics had dealt with Mary's relationship with her child and dealt with the question, played the role play and smile.

It says even at the monk Notker.

The theological conviction that in the smile manifesting the divine wisdom and serenity and that the suffering God, a God playing a " Deus ludens ", was reflected in many paintings of the 15th and 16th century. Thus, when Raphael plays the baby Jesus with the cross, while in Grünewald the playing child engages with its fingers spread not only by the fig, but also refers to this gesture on the standing next to Maria tree, which also has a multi-layered symbolism here and among other the Cross suggests.

The playing child on the lap of mother stands on heavy, precious verbrämtem brocade and above him open the clouds to release the view of God the Father. In the Old Testament is the cloud symbol of God's presence, while pointing out its realization in the New Testament.

The tree

With the index finger of the left hand, the child in the direction of the tree. What is striking about this is that it simultaneously bears fruit and flowers. When this occurs also in some tropical trees, but this is not a property of central European species. The simultaneous fruiting and flowering, like standing at its roots Madonna lilies in particular symbol of the virginity of Mary. Again, Grünewald has used a not very often used symbol - on many medieval panel paintings are actually the same flowering and fruiting wild strawberries, that refer to this property of Mary. The tree indicated here but at the same time to the crucifixion of Christ and is the symbol of salvation.

However Ziermann also indicates that the pointing direction of the fingers on the necklace of Mary interpret: The contemporary viewer reading this jewelry as a sign of betrothal of Mary and the virgin conception. In the same vein he pointed the cross at the gate to the closed garden ( Ziermann, p 156).

The cathedral and the sea

In the form of the Cathedral, the pyramidal structure of the figure of Mary repeated. Grünewald has created in the view of the cathedral references to three churches; in the tracery windows are two achtspeichige wheels stylized, which also appear in the Mainz coat of arms - he is referring to the Mainz Cathedral. The transept is reminiscent of the facade of the south transept of Strasbourg Cathedral, before there the courtroom was removed, and the staircase is similar to the Collegiate Church of St. Peter and Alexander.

The Christian literature uses the image of the ship and the Ark frequently as a symbol of the church and used the formulation of the Church, which is " angry sea in the world " driving a ship through. Since the beginning of Catholic literature in ancient times there was, as in the rabbinic literature interpretations of the name " Mary", which produced a reference to the sea and which led, among other things, that many Latin and German songs of Mary Maria appeal as " sea star," as star that points the way to the harbor of salvation. In fact, one discovered in remote image background a sea and clearly visible to a rainbow arching over it. The rainbow is the sign of God's covenant after the Flood ( 1 Mos. 9.13 ), which is being renewed through Jesus Christ already at Moses. A more familiar with Christian symbolism, contemporary Grünewald could therefore read in this picture that rescue in salvation only could find who belongs to the steered by Maria Church - as only those rescue from destruction found by the deluge, which were on the ark. Fittingly, on the staircase, a statue of Mary stands - this is also an allusion to the honorary title of Mary as " Figura ecclesia " as " image of the Church ." For the medieval theologians, however, Mary was not only " Figura ecclesia ", but also " sponsa et mater Ecclesia " Bride and Mother of the Church at the same time.

However, art historians also point out that the rainbow can also be interpreted differently. The rainbow also appears in the visions of St.. Birgitta of Sweden. In these visions Birgitta speaks of the Mother of God who stands as the rainbow in the sky and as these tend to reduce the earth's inhabitants, the good and the evil with their prayers touching.

The crown -less Mary and the closed gates

For the interpretation of Mary as the Bride of the Church it is important that Maria - unlike in the pre-study Grünewald - carries on the painting no crown. Her neck jewelry also has the status of their Bräutlichkeit out as the ring on her left hand and her loose hair. Her dress is similar to that of a queen; However, their hairstyle is a simple girl, as it is mentioned in the Song of the Bible. Also, the closed gates, the lilies, the seat under the tree that the hives indicated honey, the rainbow and the fig tree, which winds around a standing in the garden wooden cross reference this Bible text. The " Hortus conclusus " which implies the closed gates, is often supplemented in the painting by the presentation of flowers, which are among the Marian symbols. So in addition to the roses, the lilies and the fig and clove, hawthorn and chamomile are arranged in a circle around Mary.

However, hives appear in the visions of St.. Birgitta of Sweden. In this mystic Maria is set equal to a beehive, in whose womb the Son of God, " the highly acclaimed bee " retreat took. Similar to the rainbow, the representation of hives is ambiguous.

A copy of the Madonna

Between the years 1943 and 1947, the well-known and respected for his knowledge of the Old Masters Technique painter Christian Schad copied on behalf of the city of Aschaffenburg Grünewald Madonna. The copy can now be seen on permanent loan in the Abbey Church of St. Peter and Alexander, Aschaffenburg.