Picturing the 'Pregnant' Magdalene in Northern Art, 1430-1550
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A01=Penny Howell Jolly
Author_Penny Howell Jolly
Beatific Vision
Category=AFC
Category=AGR
Category=QRM
Christ Child
Christ's Feet
Christ’s Feet
Courtesy National Gallery
der
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Erich Lessing
female sanctity symbolism
foolish
Foolish Virgin
gendered body representation
hemessen
Jacob Cornelisz
jan
Jan Gossart
Jan Van Hemessen
laces
Magdalene's Conversion
Magdalene's Cult
Magdalene’s Conversion
Magdalene’s Cult
Martin Schongauer
mary
maternity
Maternity Laces
Museum Boijmans Van Beuningen
northern renaissance art
Ointment Jar
penitence and eroticism
Pointed Lid
Quentin Massys
religious iconography analysis
RMN Grand Palais
rogier
Rogier Van Der Weyden
Salvator Mundi
Sixteenth Century Antwerp
Staatliche Museen
textile industry in art
van
Van Der Weyden's Descent
Van Der Weyden’s Descent
visual culture of Mary Magdalene
weyden
Wise Virgins
Worcester Art Museum
Product details
- ISBN 9781472414953
- Weight: 771g
- Dimensions: 156 x 234mm
- Publication Date: 01 Jan 2014
- Publisher: Taylor & Francis Ltd
- Publication City/Country: GB
- Product Form: Hardback
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Examining innovations in Mary Magdalene imagery in northern art 1430 to 1550, Penny Jolly explores how the saint’s widespread popularity drew upon her ability to embody oppositions and embrace a range of paradoxical roles: sinner-prostitute and saint, erotic seductress and holy prophet. Analyzing paintings by Rogier van der Weyden, Quentin Massys, and others, Jolly investigates artists’ and audiences’ responses to increasing religious tensions, expanding art markets, and changing roles for women. Using cultural ideas concerning the gendered and pregnant body, Jolly reveals how dress confirms the Magdalene’s multivalent nature. In some paintings, her gown’s opening laces betray her wantonness yet simultaneously mark her as Christ’s spiritually pregnant Bride; elsewhere ’undress’ reconfirms her erotic nature while paradoxically marking her penitence; in still other works, exotic finery expresses her sanctity while celebrating Antwerp’s textile industry. New image types arise, as when the saint appears as a lovesick musician playing a lute or as a melancholic contemplative, longing for Christ. Some depictions emphasize her intercessory role through innovative pictorial strategies that invite performative viewing or relate her to the mythological Pandora and Italian Renaissance Neoplatonism. Throughout, the Magdalene’s ambiguities destabilize readings of her imagery while engaging audiences across a broad social and religious spectrum.
Penny Howell Jolly is Professor of Art History at Skidmore College, USA.
