Faith, Gender and the Senses in Italian Renaissance and Baroque Art: Interpreting the Noli me tangere...

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Erin E. Benay Lisa M. Rafanelli

Faith, Gender and the Senses in Italian Renaissance and Baroque Art

Interpreting the Noli me tangere and Doubting Thomas

Erin E. Benay, Lisa M. Rafanelli

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English

Routledge
14 June 2017

Renaissance art; Art & design styles: Baroque; Religious subjects depicted in art

Series: Visual Culture in Early Modernity

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.

By: Erin E. Benay, Lisa M. Rafanelli
Imprint: Routledge
Country of Publication: United Kingdom
Dimensions: Height: 246mm, Width: 174mm,
Weight: 521g
ISBN: 9781138310254
ISBN 10: 1138310255
Series: Visual Culture in Early Modernity
Pages: 304
Publication Date: 14 June 2017
Audience: College/higher education , General/trade , Primary , ELT Advanced
Format: Paperback
Publisher's Status: Active

Erin E. Benay is Assistant Professor of Renaissance and Baroque Art at Case Western Reserve University, USA. Lisa M. Rafanelli is Professor of Art History at Manhattanville College, USA.

Reviews for Faith, Gender and the Senses in Italian Renaissance and Baroque Art: Interpreting the Noli me tangere and Doubting Thomas

Given its wide use of literary source material, Faith, Gender and the Senses in Italian Renaissance and Baroque Art will appeal to early modern scholars across a range of disciplines, not only within the history of art. From a strictly practical perspective, the individual chapters will also make for focused reading assignments for the Renaissance and/or Baroque student. The amount of textual and visual evidence consulted is truly impressive, and the study will become a useful source for anyone working on either of these subjects or in gender studies. - CAA Reviews