DOCSLIB.ORG

Images of Mary Magdalene

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Images of Mary Magdalene Mary Magdalene As Disciple, Witness, and Icon Giotto, Crucifixion Scrovegni Chapel, Padua, ca. 1320 Detail, Giotto, Crucifixion Masaccio (1401-1428) Crucifixion, 1426 Detail, Masaccio, Crucifixion Rogier van der Weyden (1400-1464) Deposition, ca. 1435 Detail, Rogier van der Weyden Deposition Fra Bartolomeo (1473-1517) Deposition, 1515 Detail, Bartolomeo, Deposition The Three Marys at the Empty Tomb, San Marco, Venice, Mosaic, late 12th century Duccio, The Three Marys at the Tomb, 1308-11 Detail, Duccio, The Three Marys at the Tomb Maurice Denis (1870-1943 ) The Holy Women Near the Tomb, 1894 Pietro Lorenzetti (1280-1348) Mary Magdalene with Alabaster Jar, ca. 1330 Edward Burne-Jones (1833-1898) The Morning of the Resurrection, 1882 Duccio, Appearance to Mary Magdalene (Noli Me Tangere), 1308-11 Giotto, Noli Me Tangere (Assisi), 1320s Titian (1486-1576) Noli Me Tangere, ca. 1512 Circle of Peter Paul Rubens (1577-1640) Noli Me Tangere Calendar Image, Noli Me Tangere (date unknown) Mary Magdalene and the Apostles Saint Albans Psalter, c.1140-1150 Paolo Veronese (1528-1588) Feast at the House of Simon, 1567-70 Detail, Veronese, Feast at the House of Simon Peter Paul Rubens (1577-1640) At the Home of Simon, 1618 The Unnamed Sinner of GLuke 7 The Unnamed Sinner /Anointer: Gospel of Luke 7:36-50 7:36 One of the Pharisees asked Jesus to eat with him, and he went into the Pharisee's house, and took his place at the table. 37 And learned that he was eating in the Pharisee's house, an alabaster jar of ointment feet weeping, and began to bathe his feet with her tears and to dry them with her hair. Then she continued kissing his feet and anointing them with the ointment…. 47 Jesus said, “Her sins, which were many, have been forgiven: hence she has shown great love.” Titian (1486-1576) Penitent Magdalene, 1530s Titian (1486-1576) Penitent Magdalene, c. 1560 Caravaggio (1573-1610) Penitent Magdalene, 1596-97 Francesco Trevisani (1656-1746) Mary Magdalene in Penitence, 1710-15 Georges de la Tour (1593-1652) Magdalene of Night Light, 1630-35 Simon Vouet (1590-1649) St, Mary Magdalene Contemplating, 1623 Gerard Seghers (1591-1651) Repentant Magdalen, 1630 Carlo Dolci, Mary Magdalene, 1660 Simon Vouet, Magdalene Carried by Angels, ca. 1640 Caravaggio Mary Magdalene in Ecstasy, 1606 Spanish/Portuguese (18th-19th Century) Mary Magdalene (Ivory) Donatello (1386-1466), Magdalene, 1457 (Wood) Detail, Donatello, Magdalene (1457) Disciple and Witness at the Cross: GMark and Synoptic Parallels Gospel of Mark 15:40-47 ( + parallels in Matthew and Luke) 40 There were also women looking on from a distance; among them were James the younger and of Joses, and Salome. 41 These used to follow him and provided for him when he was in Galilee; and there were many other women who had come up with him to Jerusalem. Witness at the Empty Tomb: GMark and Synoptic Parallels Gospel of Mark 16:1-8 ( + par. in Matt and Lk) 1 When the sabbath was over, mother of James, and Salome bought spices, so that they might go and anoint him. 2 And very early on the first day of the week, when the sun had risen, they went to the tomb….5 As they entered the tomb, they saw a young man, dressed in a white robe, sitting on the right side; and they were alarmed. 6 But he said to them, ‘Do not be alarmed; you are looking for Jesus of Nazareth, who was crucified. He has been raised; he is not here. Look, there is the place they laid him. 7 and Peter that he is going ahead of you to Galilee; there you will see him, just as he told you.’ the tomb, for terror and amazement had seized them; and they said nothing to anyone, for they were afraid. Witnesses of the Resurrection: The Gospel of Matthew Gospel of Matthew 28:1, 8-10, 16-20 1 After the sabbath, as the first day of the week was dawning, Mary Magdalene and the other Mary So they left the tomb quickly with fear and great joy, and ran to tell his disciples. 9 ‘Greetings!’ And they came to him, took hold of his feet, and worshipped him. go and tell my brothers to go to Galilee; there they will see me.’... 16 Now the 11 disciples went to Galilee, to the mountain to which Jesus had directed them. 17 When they saw him, they worshipped him; but some doubted. 18 And Jesus came and said to them, “All authority in heaven and on earth has been given to me. 19 Go there and make disciples of all nations, baptizing Disciple in Galilee: Gospel of Luke 8 Gospel of Luke 8:1-3 1 Soon afterwards he went on through cities and villages, proclaiming and bringing the good news of the kingdom of God. some women who had been cured of evil spirits and infirmities: Mary, called Magdalene, from whom seven demons had gone out, steward Chuza, and Susanna, and many others, who provided for them out of their resources. Witness of the Empty Tomb and Resurrection: The Gospel of John I Gospel of John 19:25, 20:1-14 19:25 and his mother's sister, Mary the wife of Clopas, and Mary Magdalene. 20:1 Early on Magdalene came to the tomb and saw that the stone had been removed from the tomb. 2 So she ran and went to Simon Peter and the other disciple, the one whom Jesus loved, and said to them, ‘They have taken the Lord out of the tomb, and we do not know where they have laid him.’.. 10 Then the disciples returned to their homes. 11 But Mary stood weeping outside the tomb. As she wept, she bent over to look into the tomb; 12 and she saw two angels in white, sitting where the body of Witness of the Resurrection: The Gospel of John II Gospel of John 20:15-18 15 Jesus said to her, ‘Woman, why are you weeping? For whom are you looking?’ Supposing him to be the gardener, she said to him, ‘Sir, if you have carried him away, tell me where you have laid him, and I will take him away.’ 16 Jesus said to her, ‘Mary!’ She turned and said to him in Hebrew, ‘Rabbouni!’ (which means Teacher). 17 Jesus said to her, ‘Do not hold on to me (Latin: not yet ascended to the Father. But go to my brothers and say to them, “I am ascending to my Father and your Father, to my God and your God.” ’ 18 Mary Magdalene went and announced to the disciples, ‘I have seen the Lord’; and she told them that he had said these things to her. 5 Significant Features of the Gospel of John’s Portrayal of Mary Magdalene n Mary Magdalene speaks in the Gospel of John, and she weeps n Jesus addresses her by name; she thus comes to recognize him n She is the first witness of the resurrection (as in the Gospel of Matthew) n She is commissioned by Jesus to proclaim the resurrection to “the disciples” n She becomes the first apostle, the apostle to the apostles, as she announces: n “I have seen the Lord” (20:18) Apostle to the Apostles Saint Albans Psalter, c.1140-1150 The Unnamed Sinner and Mary Magdalene in Luke 7 & 8 The Unnamed Sinner / Anointer: Gospel of Luke 7:36-50 7:36 One of the Pharisees asked Jesus to eat with him, and he went into the Pharisee's house, and took his place at the table. 37 the city, who was a sinner, Pharisee's house, brought him at his feet dry them with her hair. Then she continued kissing his feet and anointing them with the ointment…. Mary Magdalene as Disciple in Galilee: Gospel of Luke 8:1-3 1 Soon afterwards he went on through cities and villages, proclaiming and bringing the good news of the kingdom of God. 2 as well as some women who had been cured of evil spirits and infirmities: Mary, called Magdalene, from whom seven demons had gone out, Joanna, the wife of Herod’s steward Chuza, and Susanna, and many others, who provided for them out of their resources. The Composite Magdalene Pope Gregory the Great, Homily 33, 591 CE We believe that woman John calls Mary (Mary of Bethany), and that Mary from whom Mark says seven demons were cast out. And what did these seven devils signify, if not all the vices?... It is clear, brothers, that the woman previously used the ointment to perfume her flesh in forbidden acts.... She had coveted with earthly eyes, but now through penitence these are consumed with tears. She displayed her hair to set off her face, but now her hair dries her tears. She had spoken proud things with her mouth, but in kissing the Lord's feet, she now planted her mouth on the Redeemer's feet.... For every delight, therefore, she had had in herself, she now immolated herself. order to serve God entirely in penance wrongly held God in contempt. Detail, Masaccio, Crucifixion Titian (1486-1576) Penitent Magdalene, c. 1560 The Early Life of St. Mary Magdalene: The Golden Legend Jacobus de Voragine, O. P. (1230-1298), Legend Mary is called Magdalene, which is understood to mean “remaining guilty,” or it means armed, or unconquered, or magnificent. These meanings point to the sort of woman she was before, at the time of, and after her conversion. She was wellborn, descended of royal stock... With her brother Lazarus and her sister Martha she owned Magdalum.
Load more

Recommended publications
  • Abide in John's First Epistle
    BY JOSEPH BECKLER BIDE IN john’s FIRST EPISTLE he word abide (Greek, meno) carries Abide in the Greek context carries a sense synonymous meanings such as remaining, of remaining or staying in place. The word in Tstaying, living, dwelling, lasting, enduring, its general usage described an idea of endur- and continuing.1 The Greek New Testament uses ing or of someone holding his or her ground, meno 112 times. of its usage, the Johannine group even when facing adversity. Overall, the word 2009 Summer of literature (the Gospel of John; 1, 2, 3 John; and BI revelation) uses the term 66 times.2 having a LESSON REFERENCE proper understanding of abide is thus important BsFL: 1 John 2:3-17 55 when reading any of John’s writings. ILLUSTRATOR PHOTO/ KRISTEN HILLER (2486) meno communicated a strong sense of tenacity, new heaven and new earth (Isa. 66:22).4 Looking and this certainly shaped the understanding of exclusively at the Old Testament usage, abide those who used the word. For the modern reader, suggests more than a casual “sticking around.” understanding the meaning of abide, as related This word emphasizes the enduring, eternal, and specifically to the Jewish community and the dependable nature of God. early Christian movement, requires looking at meno’s usage in the Greek translation of the Old Abide in 1 John 2:3-17 Testament, the Septuagint. John’s writings, as mentioned above, used abide The Septuagint used abide (meno) in translat- in a brilliant theological fashion. The Book ing Hebrew words that carried the sense of of 1 John was written to a group of Christians standing, lasting, remaining, enduring, being who dealt with the threat of gnostic influence.
    [Show full text]
  • The Marian Philatelist, Whole No. 46
    University of Dayton eCommons The Marian Philatelist Marian Library Special Collections 1-1-1970 The Marian Philatelist, Whole No. 46 A. S. Horn W. J. Hoffman Follow this and additional works at: https://ecommons.udayton.edu/imri_marian_philatelist Recommended Citation Horn, A. S. and Hoffman, W. J., "The Marian Philatelist, Whole No. 46" (1970). The Marian Philatelist. 46. https://ecommons.udayton.edu/imri_marian_philatelist/46 This Book is brought to you for free and open access by the Marian Library Special Collections at eCommons. It has been accepted for inclusion in The Marian Philatelist by an authorized administrator of eCommons. For more information, please contact [email protected], [email protected]. &fie Marian Philatelist PUBLISHED BY THE MARIAN PHILATELIC STUDY GROUP Business Address: Rev. A. S. Horn Chairman 424 West Crystal View Avenue W^J. Hoffman Editor Orange, California 92667, U.S.A. Vol. 8 No. 1 Whole No. 46 JANUARY 1, 1970 New Year's Greetings to all our members. Thanks to the assistance of one of our members we are able, at least temporarily, to continue the publication of THE MARIAN PHILATELIST. In the name of all our members I wish to thank Mr. Hoffman for his con­ stant devotion to the study of the Blessed Virgin on stamps. His unselfish contribu­ tion in time and effort has made the continuation of our paper possible. May God bless you. Father Horn NEW ISSUES ANGUILLA: The philatelic press indicated that a 4-stamp Christmas set would be issu­ ed, and gave designs and values as listed on page 65 of the November 1969 issue.
    [Show full text]
  • Christian Themes in Art: the Resurrection in Art Transcript
    Christian Themes in Art: The Resurrection in Art Transcript Date: Wednesday, 16 February 2011 - 1:00PM Location: Museum of London The Resurrection in Art The Rt Revd Lord Harries of Pentregarth Gresham Professor of Divinity Dura Europos, a town on the frontier of the Roman and Persian Empire where a synagogue and house church, the earliest known and dating from early 3rd century, have been discovered under the ruins. Murals on walls of both synagogue and church. The three women approach the tomb. The catacombs. No scene of the empty tomb or resurrection but faith expressed through raising of Lazarus. “I am the Resurrection and the Life” (John chapter 11) and the story of Jonah. Jesus raising Lazarus The story of Jonah The cross and the resurrection seen together as a unified victory. See previous lecture on the Passion in Art. 4th century sarcophagus. Four panels in British Museum dating from 420. The earliest depiction of Christ on the Cross, a unified passion scene of Christ carrying the cross, Pilate washing his hands and Peter denying Christ, plus these two witnessing to the Resurrection. Note the scenes on the door of the tomb. Profound reticence about showing resurrection of Christ itself. (Not described in Gospels) So women at empty tomb a favourite theme. The tomb in the shape of the rotunda built over the place where Christ was buried in Jerusalem seen by pilgrims. The fact that the place could be seen and depicted an important witness. From 8th century it tended to become a cave. Two women usually shown, and this became standard.
    [Show full text]
  • To Evangelize God?S People Beginning with the Gift of the Holy Eucharist
    Our Mission Statement: To evangelize God?s people beginning with the gift of the Holy Eucharist. June 9, 2019 Pentecost Sunday (Page 321 in the Red Missal) Fr. Joseph Illo Pentecost (Page 667 in the Black Missal) Pastor Mission Appeal We wel- have been stillborn. For this reason most of Fr. Mark Taheny the Sundays of the liturgical year refer back to come Fr. Bernard Toha, Parochial Vicar this year?s mission Pentecost (as in the older form of the calen- preacher, this Sunday. Fr. dar). We call the vast stretch of Sundays from Fr. John Mary Chung Bernard joined the Oblates Pentecost to Advent (roughly 65% of the year) In Residence of St. Francis de Sales in ?Ordinary Time? since Vatican II, meaning his native Benin (West not ?ordinary/ho hum? but ?ordered to the Fr. Mathias Wambua Africa) where he works to- work of the Holy Spirit.? Before 1970 the Sun- In Residence day, building up the days from Pentecost to Advent were called Church and saving souls in obedience to the ?Sundays after Pentecost,? making it clearer Derek West Lord?s mandate to ?teach all nations every- that Catholics go through the year, building Operations Manager the Church and thing I told you, bap- Ellen Torkelson tizing them in the saving souls al- name of the Holy ways, motivated Payroll /Human Resources Trinity". Most of us do by the power and Thelma Queri not do missionary submissive to the Bookkeeper work outside of the guidance of the good old USA (al- Holy Spirit. You Mariella Zevallos though I will be doing can?t see the Holy Director of Communications a week of mission in Spirit, just as you and Development Nicaragua in August), can?t see the infer- but all of us must nal spirits, but you Lynn Kraehling support the missions.
    [Show full text]
  • Mars and Venus Surprised by Vulcan
    Joachim Wtewael MARS AND VENUS SURPRISED BY VULCAN Joachim Wtewael MARS AND VENUS SURPRISED BY VULCAN Anne W. Lowenthal GETTY MUSEUM STUDIES ON ART Malibu, California Christopher Hudson, Publisher Cover: Mark Greenberg, Managing Editor Joachim Wtewael (Dutch, 1566-1638). Cynthia Newman Bohn, Editor Mars and Venus Surprised by Vulcan, Amy Armstrong, Production Coordinator circa 1606-1610 [detail]. Oil on copper, Jeffrey Cohen, Designer 20.25 x 15.5 cm (8 x 6/8 in.). Malibu, J. Paul Getty Museum (83.PC.274). © 1995 The J. Paul Getty Museum 17985 Pacific Coast Highway Frontispiece: Malibu, California 90265-5799 Joachim Wtewael. Self-Portrait, 1601. Oil on panel, 98 x 74 cm (38^ x 29 in.). Utrecht, Mailing address: Centraal Museum (2264). P.O. Box 2112 Santa Monica, California 90407-2112 All works of art are reproduced (and photographs provided) courtesy of the owners unless otherwise Library of Congress indicated. Cataloging-in-Publication Data Lowenthal, Anne W. Typography by G & S Typesetting, Inc., Joachim Wtewael : Mars and Venus Austin, Texas surprised by Vulcan / Anne W. Lowenthal. Printed by C & C Offset Printing Co., Ltd., p. cm. Hong Kong (Getty Museum studies on art) Includes bibliographical references and index. ISBN 0-89236-304-5 i. Wtewael, Joachim, 1566-1638. Mars and Venus surprised by Vulcan. 2. Wtewael, Joachim, 1566-1638 — Criticism and inter- pretation. 3. Mars (Roman deity)—Art. 4. Venus (Roman deity)—Art. 5. Vulcan (Roman deity)—Art. I. J. Paul Getty Museum. II. Title. III. Series. ND653. W77A72 1995 759-9492-DC20 94-17632 CIP CONTENTS Telling the Tale i The Historical Niche 26 Variations 47 Vicissitudes 66 Notes 74 Selected Bibliography 81 Acknowledgments 88 TELLING THE TALE The Sun's loves we will relate.
    [Show full text]
  • The Scrovegni Chapel. Multidisciplinary Research and Environmental Protection
    Giuseppe Basile - Eugenio Mancinelli - Maurizio Marabelli - Paola Santopadre - Marcella Ioele - Vasco Fassina - Antonio G. Stevan - Roberto Cesareo - Alfredo Castellano The Scrovegni Chapel. Multidisciplinary Research and Environmental Protection Introduction physical evaluation relative to the study of the State of conser• vation and the causes of decay of the mural paintings and to the The restoration of the pictorial cycle of Gioito in the Scrovegni assessment of air quality and microclimate of their container. in Chapel has meant for the Central Institute of Restoration (ICR) addition to defining and realizing a number of interventions and former director at that time, Mr. Giovanni Urbani, the aiming at preventing the decay: the ultimate goal of the research opportunity to put together a proposal and experiment a radi- has been creating a technological ambient (named in Italian cally different approach to restoration from the traditional one, Corpo Tecnologico Attrezzato. acronym CTA) equipped with a which is based on a few. but fundamental principles: heating and chilling plant and an air filtering unit for the pre- 1. The first one consists in detecting. through a number of ventive conservation of the Chapel. investigations, tests and scientific analyses appropriately To better outline the development of the research and the tackling the issue. which were the causes of decay or dam- interventions applied to the environment. the building and the ages that were visible on the paintings with the purpose of mural paintings. a chronological order has been followed. removing them or at least reducing their kinetics. 2. The second one consists in implemenling target interven- tions ahead of time to reset the environment to suitable Research and interventions: conditions, i.e.
    [Show full text]
  • The Representations of Elderly People in the Scenes of Jesus’ Childhood in Tuscan Paintings, 14Th-16Th Centuries
    The Representations of Elderly People in the Scenes of Jesus’ Childhood in Tuscan Paintings, 14th-16th Centuries The Representations of Elderly People in the Scenes of Jesus’ Childhood in Tuscan Paintings, 14th-16th Centuries: Images of Intergeneration Relationships By Welleda Muller The Representations of Elderly People in the Scenes of Jesus’ Childhood in Tuscan Paintings, 14th-16th Centuries: Images of Intergeneration Relationships By Welleda Muller This book first published 2016 Cambridge Scholars Publishing Lady Stephenson Library, Newcastle upon Tyne, NE6 2PA, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2016 by Welleda Muller All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-4438-9049-9 ISBN (13): 978-1-4438-9049-6 This book is dedicated to all of my colleagues and friends from MaxNetAging: Inês Campos-Rodrigues, Kristen Cyffka, Xuefei Gao, Isabel García-García, Heike Gruber, Julia Hoffman, Nicole Hudl, Göran Köber, Jana Kynast, Nora Mehl, and Ambaye Ogato. TABLE OF CONTENTS List of Illustrations ..................................................................................... ix Acknowledgments .................................................................................... xiii Introduction ................................................................................................
    [Show full text]
  • Rethinking Savoldo's Magdalenes
    Rethinking Savoldo’s Magdalenes: A “Muddle of the Maries”?1 Charlotte Nichols The luminously veiled women in Giovanni Gerolamo Savoldo’s four Magdalene paintings—one of which resides at the Getty Museum—have consistently been identified by scholars as Mary Magdalene near Christ’s tomb on Easter morning. Yet these physically and emotionally self- contained figures are atypical representations of her in the early Cinquecento, when she is most often seen either as an exuberant observer of the Resurrection in scenes of the Noli me tangere or as a worldly penitent in half-length. A reconsideration of the pictures in connection with myriad early Christian, Byzantine, and Italian accounts of the Passion and devotional imagery suggests that Savoldo responded in an inventive way to a millennium-old discussion about the roles of the Virgin Mary and Mary Magdalene as the first witnesses of the risen Christ. The design, color, and positioning of the veil, which dominates the painted surface of the respective Magdalenes, encode layers of meaning explicated by textual and visual comparison; taken together they allow an alternate Marian interpretation of the presumed Magdalene figure’s biblical identity. At the expense of iconic clarity, the painter whom Giorgio Vasari described as “capriccioso e sofistico” appears to have created a multivalent image precisely in order to communicate the conflicting accounts in sacred and hagiographic texts, as well as the intellectual appeal of deliberately ambiguous, at times aporetic subject matter to northern Italian patrons in the sixteenth century.2 The Magdalenes: description, provenance, and subject The format of Savoldo’s Magdalenes is arresting, dominated by a silken waterfall of fabric that communicates both protective enclosure and luxuriant tactility (Figs.
    [Show full text]
  • Saint Mary Magdalene
    saint mary magdalene - relic tour Martha was the first to say, “Lord, I have believed that thou art Christ the Son of February 20 - March 22, 2013 the living God, who art come into this world” (John 11:27). Martha was witness to Jesus resurrection of her brother Lazarus (John 11:39-44). Martha’s relics are in Collégiale Sainte-Marthe in Tarascon. Early Christian Saints of God Mark Friedman and Janet Vogt A piece of the tibia of St. Mary Magdalene Saints of God, we stand be - fore you. This we ask you, pray for us. Ho - ly men and ho - ly wom - en, in your good - ness pray for us. 1. St. Ma - ry, God’s moth - er, our moth - er, 2. St. Jo-seph, St. Pe - ter, St. An - drew, 3. St. Mat - thew, St. Si - las, St. Bar - na - bas, 4. St. Mar - tha, St. Max-i-min, St. Ma-ry Sal-o-me, 1. All an - gels in heav - en, 1-4. pray for us. 2. St. Steph - en, St. Paul, 3. St. Luke, St. Ce-do-ni-us, 4. St. La - za - rus, St. Mar - tha, 1-4. pray for us. Ho - ly men and ho - ly wom - en, The Three Marys at the Empty Tomb Mary Magdalene, Mary Jacobe and Mary Salome 1. so ho - ly, 2. St. Law-rence, 3. St. Ma-ry Ja- co- be, pray for us. us. 4. St. Ma-ry Mag-da-lene. 1-4. in your good - ness, pray for us. us. 2, 4. Save us, Lord, from sin and ev - ‘ry A piece of the tibia of St.
    [Show full text]
  • Historical Painting Techniques, Materials, and Studio Practice
    Historical Painting Techniques, Materials, and Studio Practice PUBLICATIONS COORDINATION: Dinah Berland EDITING & PRODUCTION COORDINATION: Corinne Lightweaver EDITORIAL CONSULTATION: Jo Hill COVER DESIGN: Jackie Gallagher-Lange PRODUCTION & PRINTING: Allen Press, Inc., Lawrence, Kansas SYMPOSIUM ORGANIZERS: Erma Hermens, Art History Institute of the University of Leiden Marja Peek, Central Research Laboratory for Objects of Art and Science, Amsterdam © 1995 by The J. Paul Getty Trust All rights reserved Printed in the United States of America ISBN 0-89236-322-3 The Getty Conservation Institute is committed to the preservation of cultural heritage worldwide. The Institute seeks to advance scientiRc knowledge and professional practice and to raise public awareness of conservation. Through research, training, documentation, exchange of information, and ReId projects, the Institute addresses issues related to the conservation of museum objects and archival collections, archaeological monuments and sites, and historic bUildings and cities. The Institute is an operating program of the J. Paul Getty Trust. COVER ILLUSTRATION Gherardo Cibo, "Colchico," folio 17r of Herbarium, ca. 1570. Courtesy of the British Library. FRONTISPIECE Detail from Jan Baptiste Collaert, Color Olivi, 1566-1628. After Johannes Stradanus. Courtesy of the Rijksmuseum-Stichting, Amsterdam. Library of Congress Cataloguing-in-Publication Data Historical painting techniques, materials, and studio practice : preprints of a symposium [held at] University of Leiden, the Netherlands, 26-29 June 1995/ edited by Arie Wallert, Erma Hermens, and Marja Peek. p. cm. Includes bibliographical references. ISBN 0-89236-322-3 (pbk.) 1. Painting-Techniques-Congresses. 2. Artists' materials- -Congresses. 3. Polychromy-Congresses. I. Wallert, Arie, 1950- II. Hermens, Erma, 1958- . III. Peek, Marja, 1961- ND1500.H57 1995 751' .09-dc20 95-9805 CIP Second printing 1996 iv Contents vii Foreword viii Preface 1 Leslie A.
    [Show full text]
  • Body, Identity, and Narrative in Titian's Paintings
    Winter i WITTENBERG UNIVERSITY BODY, IDENTITY, AND NARRATIVE IN TITIAN’S PAINTINGS AN UNDERGRADUATE THESIS SUBMITTED TO DR. ALEJANDRA GIMENEZ-BERGER BY LESLIE J. WINTER IN PARTIAL FULFILLMENT OF THE DEGREE BACHELOR OF ARTS WITH HONORS IN ART HISTORY APRIL 2013 Winter ii Table of Contents Pages Abstract iii. 1. Introduction 1. 2. The Painted Parts of the Whole Individual 4. 3. Istoria and The Power of the Figure in Renaissance Art 16. 4. Titian’s Religious Paintings 29. 5. Titian’s Classicizing Paintings 38. 6. Conclusion 48. Endnotes 49. Figure List 55. Figures 57. Bibliography 70. Winter iii Abstract: In the Renaissance, the bodies of individuals were understood as guides to their internal identities, which influenced the public understanding of the figure represented in art—be it in terms of politics, personal life, or legacy. The classicizing and religious paintings by Titian (c. 1488/90-1576) show the subject’s state of being, at a particular moment in a story, through the use of body language. The body is a vehicle for narrative that demonstrates the sitter’s identity, relating the intricacies of the body to both the mind and the story. By exploring the humanist combination of philosophical theories regarding the relationship between the soul and the body, it is clear that Titian used these concepts to elevate the human figures in his narrative paintings. Formal analysis and Renaissance artistic theories by Alberti and others suggest that Renaissance artists operated under the assumption that how their sitters appeared was tantamount to representing their identities. Current scholarship has not yet considered this particular relationship in Titian’s works.
    [Show full text]
  • THE EARLIER WORK of TITIAN by CLAUDE
    THE EARLIER WORK OF TITIAN By CLAUDE PHILLIPS Keeper of the Wallace Collection 1897 [Illustration: _Flora_] [Illustration: The Portfolio Artistic Monographs With many Illustrations] LIST OF ILLUSTRATIONS PLATES PAGE page 1 / 110 Flora. Uffizi Gallery, Florence ....................... Frontispiece Sacred and Profane Love. Borghese Gallery, Rome..................... 36 Virgin and Child, with Saints. Louvre............................... 54 Le Jeune Homme au Gant. Louvre...................................... 62 ILLUSTRATIONS PRINTED IN COLOUR Design for a Holy Family. Chatsworth................................ 86 Sketch for the Madonna di Casa Pesaro. Albertina.................... 96 ILLUSTRATIONS IN THE TEXT The Man of Sorrows. In the Scuola di S. Rocco, Venice............... 23 Virgin and Child, known as "La Zingarella." Imperial Gallery, Vienna 25 The Baptism of Christ. Gallery of the Capitol, Rome................. 29 page 2 / 110 The Three Ages. Bridgewater Gallery ................................ 35 Herodias with the Head of John the Baptist. Doria Gallery, Rome..... 39 Vanitas. Alte Pinakothek, Munich.................................... 41 St. Anthony of Padua causing a new-born Infant to speak. Fresco in the Scuola del Santo, Padua............................................. 43 "Noli me tangere." National Gallery................................. 45 St. Mark enthroned, with four Saints. S. Maria della Salute, Venice. 49 The Madonna with the Cherries. Imperial Gallery, Vienna............. 51 PAGE Madonna and Child, with St. John and
    [Show full text]