Faith, Gender and the Senses in Italian Renaissance and Baroque Art
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A01=Erin E. Benay
A01=Lisa M. Rafanelli
Author_Erin E. Benay
Author_Lisa M. Rafanelli
Caravaggio's Depiction
Caravaggio's Painting
Category=AGA
Category=AGR
Christ's Bodily Resurrection
Christ's Corporeality
Christ's Wounds
christs
cima
conegliano
credit
doubt
Early Cinquecento
empirical philosophy
eq_art-fashion-photography
eq_bestseller
eq_isMigrated=1
eq_isMigrated=2
eq_nobargain
eq_non-fiction
Fra Bartolommeo
Francis's Stigmata
Francis's Stigmatization
Francis's Wounds
Franciscan iconography
gaddi
Garden Chapel
gendered devotion
Glazed Terracotta
Italian religious art
Magdalene Chapel
Magdalene's Identity
Magdalenian Imagery
Ointment Jar
Otto Iii
Palazzo Pretorio
photo
Photo Credit
Pope Gregory The Great
Renaissance Baroque faith representation
San Apollinare Nuovo
San Tommaso
sensory experience in belief
taddeo
Taddeo Gaddi
thomass
Tino Di Camaino
True Flesh
visual theology
wounds
Product details
- ISBN 9781138310254
- Weight: 560g
- Dimensions: 174 x 246mm
- Publication Date: 14 Jun 2017
- Publisher: Taylor & Francis Ltd
- Publication City/Country: GB
- Product Form: Paperback
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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.
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.
