Titian's <i>Mary Magdalen</i> in the Palazzo Pitti: An Ambiguous Painting and Its Critics

Aikema, Bernard Jan Hendrik

doi:10.2307/751463

Cited by 8 publications

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“…8 Joannides, 2016. 9 Tiziano'nun bu yapıtı hakkında ayrıntılı bir çözümleme için bk: Aikema, 1994. doğru yönelmiştir. Azizenin gözlerden uzakta, bir mağaraya çekildiği inziva dönemini yansıtan görsel unsur ise arka plandaki manzaradır.…”

Section: Tiziano'nun Mecdelli Meryem'leriunclassified

Penitent Mary Magdalene: Visual Motifs in the Transformation of the Meaning of Seclusion

YÜZGÜLLER

2022

Sanat Tarihi Dergisi

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Batı sanatında Karşı Reform dönemi, Hıristiyan ikonografisinde bazı temaların dönüşüme uğradığı ve aynı zamanda yeni temaların ortaya çıktığı bir süreçtir. Reform hareketine dini sanatı da propaganda aracı kullanarak yanıt üretmeye çalışan Katolik Kilisesi, doktrin açısından belirleyici olan sakramentler üzerine yoğunlaşarak özellikle Luther'in şiddetle eleştirdiği tövbekarlık olgusuna odaklanmıştır. Trento Konsili (1545-1563) kararlarıyla altı daha da etkili biçimde çizilen tövbekarlığın resim sanatındaki yansıması ise günahkarlıktan tövbekarlığa evrilen yaşam öyküsüyle tartışmasız biçimde Mecdelli Meryem figürüdür. Katolik Kilisesi'nin hem Protestanlara hem de genel anlamda Hıristiyanlara tövbenin simgesi niteliğinde bir önerme olarak sunduğu Mecdelli Meryem, 16. yüzyılın başlarından itibaren, sıklıkla günahkarlığına atıfla çıplaklığının vurgulandığı ve adeta bir portre niteliği taşıyan betimlerde karşımıza çıkmaktadır. Tiziano'nun 1531 tarihli yapıtı (Palazzo Pitti, Floransa), bu türün prototip olarak anılan örneklerinden biridir. Karşı Reform'la beliren ve Barok dönemde yoğunlaşan tinsel iklimin etkisiyle bu "erotik portre", tövbekarlık ve ölüm üzerine tefekkürün görsel motifleriyle kompoze edilen yeni bir betimleme anlayışını gündeme getirmiş, dünyevi şeylerden feragat ve memento mori düşüncesi bu sahnelerin temel bildirisi haline gelmiştir. Bu çalışmada Tövbekar Mecdelli Meryem betimlerini seri halde üreten ve azizenin inzivasının içeriğini gerek figürün gösterim biçimi gerekse kompozisyona dahil edilen görsel motifler bağlamında farklı anlam katmanlarını temsil eden bir anlayışla ele alan Tiziano, El Greco, Domenico Fetti ve Georges de la Tour'un yapıtları referans alınmıştır. Özcesi, metinde amaçlanan, Panofsky'nin "sembolik değerler dünyası" paradigmasından hareketle Tövbekar Mecdelli Meryem ikonografisinde ortaya konan görsel kodun Karşı Reform ruhu, dini literatür, Hıristiyan sembolizmi, yeni dindarlık modeli ve melankolik ruh hali çerçevesinde çözümlenmesidir.

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Section: Tiziano'nun Mecdelli Meryem'leriunclassified

Penitent Mary Magdalene: Visual Motifs in the Transformation of the Meaning of Seclusion

YÜZGÜLLER

2022

Sanat Tarihi Dergisi

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“…42 Bernard Aikema, for example, argues that the Magdalene is exemplary of Tridentine values with the fi gure's gesture of contrition, the suppression of the erotic, and discarded jewels. 43 For others, however, Bellori's identifi cation of the sitter as 'a girl drying her hair . .…”

Section: The Work Of Realismmentioning

confidence: 99%

The Work of Realism

Wilson

2012

Art History

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That descriptive pictures urge us to look at them, and to become involved with them, is amply demonstrated by the essays in this issue through their exploration of how material forms and content impinge upon each other. This invitation from naturalistic pictures to interpret them, as Larry Silver observes in his response, is not limited to Netherlandish examples, and the following comments turn to some late sixteenth-century Italian cases to explore further the interplay of realism and ambiguity. All of the essays consider how a mode of representation, form, or a genre can be pushed to its limits, and the ensuing effects: the profane usurping the sacred parable and transforming it (Bret Rothstein); perspectives that force viewers to look in unexpected ways (Celeste Brusati); etching materializing as landscape (Christopher Heuer); the reanimation of the skeleton (Rose Marie San Juan); the table becoming still life (Joanna Woodall); and the demands for attentive looking leading to boredom (Angela Vanhaelen). Importantly the interplay of form and content and the involvement this engenders open up ethical and political considerations by fostering thinking and debate. These are implications of what we are describing as the erotics of looking reconsidered below by pursuing how genres interfere with each other and the dynamic role of realism in that process.Before taking up some Italian paintings, this response turns briefl y to some methodological interests and lines of inquiry brought forward in the issue. As Rothstein notes, Susan Sontag called for an 'erotics of art' in her essay, 'Against Interpretation', fi rst published in 1966. There she insists that '[a] work of art encountered as a work of art is an experience, not a statement or an answer to a question. Art is not only about something; it is something.' 1 Sontag's 'erotics of art' resonates with methodological attention to experimentation, invention and material forms by the authors in this issue. By retaining erotics, we mean to emphasize the viewer's involvement with phenomena and thus how the approach stands apart from methodologies concerned with perception and cognition. Shifting the focus to looking, however, highlights how these pictures challenge expectations of viewers and thereby activate interpretation. Looking at art occurred in social spaces: upper middle-class burghers and aristocrats could imagine themselves carousing with prostitutes and drinking beer in taverns (Rothstein); amateurs were viewing still lifes in artists' studios (Woodall); Hercules Segers' prints were studied in scientifi c collections (Heuer); and perspectives engaged visitors in conversation in fashionable homes (Brusati). Looking at art was a social enterprise, and provocative and ambiguous pictures encouraged thinking and interaction.

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To Sow the Heart: Touch, Spiritual Anatomy, and Image Theory in Michelangelo’sNoli me tangere^*

Kleinbub

2013

Renaiss. Q.

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Titian's Mary Magdalen in the Palazzo Pitti: An Ambiguous Painting and Its Critics

Cited by 8 publications

References 0 publications

Penitent Mary Magdalene: Visual Motifs in the Transformation of the Meaning of Seclusion

Penitent Mary Magdalene: Visual Motifs in the Transformation of the Meaning of Seclusion

The Work of Realism

To Sow the Heart: Touch, Spiritual Anatomy, and Image Theory in Michelangelo’sNoli me tangere^*

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Titian's Mary Magdalen in the Palazzo Pitti: An Ambiguous Painting and Its Critics

Cited by 8 publications

References 0 publications

Penitent Mary Magdalene: Visual Motifs in the Transformation of the Meaning of Seclusion

Penitent Mary Magdalene: Visual Motifs in the Transformation of the Meaning of Seclusion

The Work of Realism

To Sow the Heart: Touch, Spiritual Anatomy, and Image Theory in Michelangelo’sNoli me tangere*

Contact Info

Product

Resources

About

To Sow the Heart: Touch, Spiritual Anatomy, and Image Theory in Michelangelo’sNoli me tangere^*