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Books > Arts & Architecture > Art forms, treatments & subjects > Art treatments & subjects > Iconography, subjects depicted in art > Religious subjects depicted in art
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Faith, Gender and the Senses in Italian Renaissance and Baroque Art - Interpreting the Noli me tangere and Doubting Thomas (Paperback)
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Faith, Gender and the Senses in Italian Renaissance and Baroque Art - Interpreting the Noli me tangere and Doubting Thomas (Paperback)
Series: Visual Culture in Early Modernity
Expected to ship within 10 - 15 working days
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Taking the Noli me tangere and Doubting Thomas episodes as a focal
point, this study examines how visual representations of two of the
most compelling and related Christian stories engaged with changing
devotional and cultural ideals in Renaissance and Baroque Italy.
This book reconsiders depictions of the ambiguous encounter of Mary
Magdalene and Christ in the garden (John 20:11-19, known as the
Noli me tangere) and that of Christ's post-Resurrection appearance
to Thomas (John 20:24-29, the Doubting Thomas) as manifestations of
complex theological and art theoretical milieus. By focusing on key
artistic monuments of the Italian Renaissance and Baroque periods,
the authors demonstrate a relationship between the rise of
skeptical philosophy and empirical science, and the efficacy of the
senses in the construction of belief. Further, the authors
elucidate the differing representational strategies employed by
artists to depict touch, and the ways in which these strategies
were shaped by gender, social class, and educational level. Indeed,
over time St. Thomas became an increasingly public--and therefore
masculine--symbol of devotional verification, juridical inquiry,
and empirical investigation, while St. Mary Magdalene provided a
more private model for pious women, celebrating, mostly behind
closed doors, the privileged and active participation of women in
the faith. The authors rely on primary source material--paintings,
sculptures, religious tracts, hagiography, popular sermons, and new
documentary evidence. By reuniting their visual examples with
important, often little-known textual sources, the authors reveal a
complex relationship between visual imagery, the senses,
contemporary attitudes toward gender, and the shaping of belief.
Further, they add greater nuance to our understanding of the
relationship between popular piety and the visual culture of the
period.
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