Triassic Romana
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| Triassic Romana |
|---|
| Matthias Grünewald , 1525 |
| chalk |
| 19.9 x 27.2 cm |
| State museums in Berlin |
Trias Romana is the title of a chalk drawing created by Matthias Grünewald . Today it is in the Kupferstichkabinett of the State Museums in Berlin . It is one of Grünewald's late works and was created around 1525. The dimensions of the picture are 27.2 by 19.9 centimeters.
Image display
In a chalk drawing on brownish paper, Grünewald created three heads that sit on a single neck and seem to have grown together at the back of the head. Surrounded they are of a halo , a halo. To the left of the center of the lower edge of the picture is Grünewald's monogram. It shows a "G" with an "M" above it. It is the last known work by Matthias Grünewald and was created after the panel paintings for the altar were created in Tauberbischofsheim .
Interpretations
The interpretation of the drawing, which is generally accepted today, goes back to the art historian Emil Markert , who in 1943 established the connection between this drawing and Ulrich von Hutten's martial art , which was widely used during Grünewald's lifetime . The combat pamphlet appeared in 1520 and was entitled "Vadiscus sive Trias Romana". From this the title of the sheet is derived, with which the history of art today refers to this sheet. Ulrich von Hutten repeatedly attacked the Catholic Church in this book, accusing them of various vices and often doing this in a threefold form. So it says at one point:
- Dry thing hand me a fight
- that I would choose to understand
- What now in Rome would be the lasantz
- I speak dry ding governens gantz:
- Arrogance, naughtiness vmder gydt
Grünewald's drawing seems to relate directly to this point. The left head is depicted in a way that was often found in priest caricatures of that time. Laziness and voraciousness have driven the figure; the wart on the nose may be an indication of syphilis , which was very rampant at the time. The left head would thus be that of the "unkush". The middle head has sunken, lean features and a piercing expression. These character traits were often used for the artistic representation of greed and avarice, the "gydt" in the Hutten language.
The last head, least clearly visible of the three, has its gaze directed towards the sky. The mouth is open. In this interpretation he represents pride .
The importance of art history
The sheet is the last evidence from Grünewald's hand. It is also the only sheet or painting in which he addresses events of his time. Since he artistically implements a writing by the Reformation forces, this is assessed as an indication that he was open to a radical renewal of the church.
literature
- Grünewald, Matthias . In: Meyers Konversations-Lexikon . 4th edition. Volume 7, Verlag des Bibliographisches Institut, Leipzig / Vienna 1885–1892, p. 875.
- Rainhard Riepertinger, Evamaria Brockhoff, Katharina Heinemann, Jutta Schumann (eds.): Das Rätsel Grünewald , cat. To Bayer. State exhibition 2002/2003, Augsburg 2002 (= publ. Z. Bayer. Geschichte und Kultur 45/02).
- Horst Ziermann, Erika Beissel; Matthias Grünewald , Prestel Verlag Munich, 2001, ISBN 3-7913-2432-2
- Berta Reichenauer; Grünewald , Kulturverlag Thaur, 1992, ISBN 3-85395-159-7