' : .' - ' ' - NotaBene.ru
Journal Menu
> Issues > Rubrics > About journal > Authors > About the Journal > Requirements for publication > Editorial collegium > Editorial board > Peer-review process > Policy of publication. Aims & Scope. > Article retraction > Ethics > Online First Pre-Publication > Copyright & Licensing Policy > Digital archiving policy > Open Access Policy > Open access publishing costs > Article Identification Policy > Plagiarism check policy
Journals in science databases
About the Journal

MAIN PAGE > Back to contents
Man and Culture
Reference:

Titians Penitent Magdalene from the collection of Palatine Gallery: from Holy Scripture to Pietro Aretino

Yaylenko Evgeny

PhD in Art History

associate professor at Lomonosov Moscow State University

119991, Russia, g. Moscow, ul. Vorob'evy Gory, 1

eiailenko@rambler.ru

 

 

DOI:

10.25136/2409-8744.2019.6.28860

Review date:

04-02-2019


Publish date:

06-01-2020


Abstract: The subject of this article is the painting “Penitent Magdalene” by Titian (middle 1530’s, Florence, Palatine Gallery). The key research goal lies in demonstration of the origins of artist’s message and determine the its potential literary prototype. Raising the question in such form is substantiated by the explicit erotic intonations expressed in the painting, which do not quite align with the religious content of Titian’s work, unless it implies the contrast juxtaposition of the erotica and piousness of the conscious stylistic device. Thus, the author attempts to find a possible literary prototype that would contain similar contrast. The research method consists in the search of conceptual parallels between the content of Titian’s “Penitent Magdalene” and Pietro Aretino’s “The Humanity of Christ” (1535). The main result lies in determination of the essence of artistic method of Titian in painting the “Penitent Magdalene”, which consists in the stylistics device of contraposition borrowed from P. Aretion. Its application, reflected in contrast juxtaposition of the successful harlot to her own image as a repenting sinner, allowed justifying the presence of erotic motives in the painting as an expressive antithesis to her soul’s aspiration towards God.


Keywords: antithesis, Pietro Aretino, Penitent Magdalen, Titian, art, Venice, Renaissance, courtesan, portrait, erotica
This article written in Russian. You can find full text of article in Russian here .

References
1.
Humfrey P. Titian. London: Phaidon, 2007.-236 p.
2.
Jones P.M. Bernardino Luinis Magdalene from the Collection of Federico Borromeo: Religious Contemplation and Iconographic Sources//Studies in the History of Art. Vol. 24. Washington, D.C.: National Gallery of Art, 1990.-P. 67-74.
3.
Kustodieva T.K. Ital'yanskaya zhivopis' XIII-XVI v. (Gosudarstvennyi Ermitazh. Sobranie zapadnoevropeiskoi zhivopisi. Katalog). SPb: Iskusstvo-SPb, 1994.-486 s.
4.
Syson L. Belle: Picturing Beautiful Women//Art and Love in Renaissance Italy. /Ed. A. Bayer. New Haven and London: Yale University Press, 2008.-P. 246-254.
5.
Roman DElia U. The Poetics of Titians Religious Paintings. Cambridge: Cambridge University Press, 2005.-264 p.
6.
Aikema B. Titians Mary Magdalen in the Palazzo Pitti: An Ambiguous Painting and its Critics//Journal of Warburg and Courtauld Institutes, 57 (1994).-P. 48-59
7.
Ben-Aryeh Debby N. Vittoria Colonna and Titians Pitti Magdalen / /Womans Art Journal. 2003. 24.-P. 29-33
8.
Aretino P. Prose sacre. Lanciano: Carabba, 1914.-175 p.
9.
Brigstrocke H. Italian and Spanish Painting in the National Gallery of Scotland. Edinburg: National Galleries of Scotland, 1993.-360 p.
10.
Passi G. I donneschi diffetti. Nuovamente formati e posti in luce. Venezia: Appresso Jacobo Antonio Somascho, 1599.-306 p.
11.
Rearick W.R. Le Maddalene penitente di Tiziano//Arte Veneta. 2001. 58.-P. 23-42
Link to this article

You can simply select and copy link from below text field.


Other our sites:
Official Website of NOTA BENE / Aurora Group s.r.o.
"History Illustrated" Website