|Noli Me Tangere, Lavinia Fontana, 1581|
via Elizabeth Lev
Fontana’s version emphasized accuracy: Mary Magdalene mistakes Jesus for a gardener, and so she paints him in a broad-brimmed hat holding a shovel. Yet once she has emphasized the literal sense, Lavinia also evokes a beautiful scene. The atmosphere is permeated with warm golden light as a new age is dawning. A little flashback scene in the distance shows the women who have left the city arriving at the tomb where an angel tells them Christ is gone. Mary’s pose in the further scene shows her with the slumped shoulders of dejection, but in the foreground her face becomes radiant with hope. Christ puts out his hand, ostensibly to tell her not to touch Him, but also in a gesture of affectionate blessing. Mary’s gaze is directed toward the wound on his hand made visible for her, but she seems to look beyond it, trying to gaze at his face under the shadowy brim. Proof of his resurrection is not her primary concern as she sinks to her usual place by his feet. The light, setting, and positions evoke a love story, a compelling language that the Counter-Reformation will employ in its time.There's more where that came from. I love being shown beneath the surface of paintings for deeper meaning. Elizabeth Lev's piece discusses the goals of Counter-Reformation art and opens another piece up for our edification. Be sure to check it out.