The Virgin Illuminated (detail from the Concert of Angels from the Isenheim Altarpiece) 1516

Matthias Grünewald created this panel, a section of the larger Isenheim Altarpiece, using oil paints, a relatively new medium at the time. Looking closely, you can see how Grünewald built up layers of paint to achieve the luminous quality of the Virgin Mary's halo, and the delicate textures of her hair and gown. The smooth, controlled brushwork speaks to a mastery of the craft honed through years of training. It's also worth noting the contrast between the ethereal figure of the Virgin and the more earthbound, architectural details that frame her. The making of such a large and complex altarpiece was a major undertaking, requiring the coordinated labor of numerous assistants, each with specialized skills. This reflects the workshop system prevalent in the Renaissance, where art production was organized much like a manufactory. By considering the material processes and social context, we gain a deeper appreciation for the artistic achievement and its place in history, challenging any separation between art and craft.