Pen and ink illustration by artist Ralph Mann
I have long been fascinated by Grunewald's Isenheim Alterpiece of 1516 and the nature of his Christ. His hands are so painfully distorted by the nails and contorted in their form, as are the arms, wrung of mercy. Together their final emphasis seems to cry out to the very heavens from whence they came. The horizontal cross beam bends heavily with a weight of sorrow, whilst the vertical beam pushes up with merciless and punishing straightness. The body is pierced with thorns, which puncture the flesh and stick out with brutal menace. The head pushes down its sad weight, echoing the punished feet which push out towards the viewer, inviting reflection. I sought to capture something of the intensity and reverence of Grunewald's image in my copy of the ultimate act of terrifyingly real redemption.
I have long been fascinated by Grunewald's Isenheim Alterpiece of 1516 and the nature of his Christ. His hands are so painfully distorted by the nails and contorted in their form, as are the arms, wrung of mercy. Together their final emphasis seems to cry out to the very heavens from whence they came. The horizontal cross beam bends heavily with a weight of sorrow, whilst the vertical beam pushes up with merciless and punishing straightness. The body is pierced with thorns, which puncture the flesh and stick out with brutal menace. The head pushes down its sad weight, echoing the punished feet which push out towards the viewer, inviting reflection. I sought to capture something of the intensity and reverence of Grunewald's image in my copy of the ultimate act of terrifyingly real redemption.
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