Feature image: Mérode Altarpiece via worldhistory.org 

Altarpieces have been a visual tradition in cathedrals since the 11th century. These works decorate the space behind and above the altar in Christian churches. Altarpieces are decorated with paintings, engraving, and sculptures. The subjects of these works are usually holy personages and saints; they also often depict scenes from biblical stories. Altarpieces are distinguished by the number of panels they contain—diptychs (two panels), triptychs (three panels), and polyptychs (four or more panels). Triptychs and polyptychs often contain panels that open and close like double doors to reveal the sumptuous artworks that reside on the inner panels. These detailed and usually lavish works have been reimagined by contemporary artists who have used the format of altarpieces to convey their own artistic pursuits. 

This altarpiece is a triptych or winged altarpiece that features painted sections as well as sculptural work. The center panel features architectural pieces that mimic the pointed arched windows of the gothic style and contains a statue of the Virgin Mary holding the baby Jesus. The panels on either side feature paintings of the Virgin Mary’s story, including the Annunciation, Visitation, Nativity, her Coronation, and her death. St. Michael and St. Elizabeth of Thuringia, whose daughter was the abbess at Altenberg for years, are also included on the panels. Each of these events and characters would have been easily recognizable by viewers of the work who, during this time, were largely illiterate and relied on visual imagery to tell stories. 

This work is one of the most influential and famous altarpieces ever made. For many, it exemplifies the transition from the Middle Ages to the Renaissance. The work is a massive polyptych that stands 11 feet tall and 15 feet across when opened. Generally, this work is believed to have been painted by Jan Van Eyck, but it has been suggested that Jan’s brother, Hubert Van Eyck, began the work. The Ghent Altarpiece, or portions of it, has been stolen six times, the most recent of which occurred in 1940 at the hands of the Nazis. When the altarpiece is closed, it features an annunciation scene and four figures, two of which are painted to look like sculptures. The man and woman are the patrons of the altarpiece, and the two painted sculptures represent the two St. Johns. When the piece is opened, the viewer is immediately met with rich color. The inner panels feature the Virgin Mary, John the Baptist, Adam and Eve, and the pastoral scene of the Adoration of the Lamb. This altarpiece is meticulously detailed and full of strange quirks that can only be revealed by looking closely at each panel.

This altarpiece has two sets of wings that can be displayed in three configurations, which makes this altarpiece a polyptych. Nikolaus Hagenauer completed the sculpted portions, and Matthias Grunewald created the painted panels. This large piece stands at eight feet, nine inches tall, and 10 feet wide. When the work is closed, the viewer sees four panels. Two thin panels on either side frame a large centerpiece that depicts Jesus Christ's death, along with a horizontal panel that extends across the bottom of the work. The viewer beholds scenes of Jesus Christ’s birth and resurrection when the first set of center panels is opened. These paintings are rather vibrant in color and full of fine details. The same panels open a second time to reveal the sculpted portion of the work. St. Augustine, St. Anthony, and St. Jerome are at the center of this final section, draped in fine gold clothing. At this point, the horizontal panel can also be opened to reveal another sculptural work depicting Jesus Christ and his Apostles. The work feels oddly reminiscent of a modern-day pop-up book where each page holds little secrets to be discovered by leaning in for a closer look.

Keith Haring completed this work a few weeks before he tragically succumbed to AIDS. The work was initially cut into clay and was later cast in bronze. It contains Haring’s signature hieroglyphic figures, including his “Radiant Baby,” which had previously appeared in Haring’s work. According to the artist, this motif represents the “purest and most positive experience of human existence.” It invites viewers to heal past wounds while reimagining a more peaceful and empathetic future. Altarpiece stands as a homage to all the people who passed due to AIDS and as a testament to Haring's belief that art “should be something that liberates the soul, provokes the imagination and encourages people to go further.”

Alba Corrado is heavily influenced by folk art. Corrado chose to use low-tech materials for this altarpiece because she feels that “they enable more direct, spontaneous outcomes that I could achieve in drawing and painting, and that seem also to characterize the folk art tradition.” Corrado’s altarpiece has a unique shape compared to the others on this list. It is rounded, with soft edges; it feels more like a cloud than an arched altar. When opened, the panels on either side are slightly B-shaped, with two alcoves splitting into an upper and lower section. The center features five little alcoves, with one centered; the rest curved around it. Each small carved-out space features little figures. While each figure is vaguely recognizable, none are specific, and they feel almost unrelated to each other. Some figures include an old woman, an angel, a woman dressed in old Hollywood glamor, and a man wearing what looks like a wizard’s hat and cloak.

This triptych features a transfer print taken from the western wall of a Second World War bunker in Berlin. The three internal panels, which contain the print, are exclusively black and white, while its exterior is a brilliant gold color. Nadia Kaabi-Linke made this print to point out the way that history changes the meaning of objects around us and how the way these objects are treated can further change one's views about history. The wall from which this print was taken first served as a bunker for civilians, then as a prison, and finally as a textile and food storage space. The artist has shared that Altarpiece is about how “Whether or not a historical object is worthy of conservation is entirely dependent upon one’s perspective—is a building whose walls are covered with traces of bullet holes considered a memorial of war or just a damaged wall in need of renovation?”

Altarpieces have a long and consistent history in the world of art. While they were primarily used for religious reasons in the past, they have taken new life in the contemporary age. This versatility allows current artists to explore and expand upon this artistic form. 

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