Overview

Mary Magdalene, Iconographic Studies from the Middle Ages to the Baroque examines the iconographic inventions in Magdalene imagery and the contextual factors that shaped her representation in visual art from the fourteenth to the seventeenth centuries. Unique to other saints in the medieval lexicon, images of Mary Magdalene were altered over time to satisfy the changing needs of her patrons as well as her audience. By shedding light on the relationship between the Magdalene and her patrons, both corporate and private, as well as the religious institutions and regions where her imagery is found, this anthology reveals the flexibility of the Magdalene’s character in art and, in essence, the reinvention of her iconography from one generation to the next.

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9789004231955

Table of Contents

Reviews

Unlike many other anthologies, the themes here are well conceived and, amazingly enough, the individual essays actually consistently address the relevant themes. Moreover, the numerous cross-references between the contributions give the volume a highly cohesive character. Lynn Jacobs, University of Arkansas, Historians of Netherlandish Art Newsletter and Review of Books This anthology succeeds in revealing the flexibility of the Magdalene's character in visual art; she is a lens through which evolving theories about women's behaviour and education can be viewed, as well as a mirror for observing church teachings, monastic ideals, personal devotion, and politics in various cultural contexts. Marjorie Harrington, Unievrsity of Notre Dame, Sixteenth Century Journal XLV/1 The sixteen essays in this volume examine the iconographic interventions of Mary Magdalene imagery and the contextual factors that shaped her representation in visual art from the 14th to the 17th century. They give special attention to how the images were altered over time to satisfy the changing needs or her patrons as well as her audience. New Testament Abstracts 57/3

""Unlike many other anthologies, the themes here are well conceived and, amazingly enough, the individual essays actually consistently address the relevant themes. Moreover, the numerous cross-references between the contributions give the volume a highly cohesive character."" Lynn Jacobs, University of Arkansas, Historians of Netherlandish Art Newsletter and Review of Books ""This anthology succeeds in revealing the flexibility of the Magdalene's character in visual art; she is a lens through which evolving theories about women's behaviour and education can be viewed, as well as a mirror for observing church teachings, monastic ideals, personal devotion, and politics in various cultural contexts."" Marjorie Harrington, Unievrsity of Notre Dame, Sixteenth Century Journal XLV/1 ""The sixteen essays in this volume examine the iconographic interventions of Mary Magdalene imagery and the contextual factors that shaped her representation in visual art from the 14th to the 17th century. They give special attention to how the images were altered over time to satisfy the changing needs or her patrons as well as her audience."" New Testament Abstracts 57/3

Author Information

Michelle A. Erhardt, Ph.D (2004), Christopher Newport University, is Associate Professor of Medieval and Renaissance Art History and Chair of the Department of Fine Art and Art History. She has published on Franciscan art in fourteenth-century Italy, Magdalene imagery and the role of female saints in medieval and Renaissance art, particularly within a Franciscan context. Amy M. Morris, Ph.D. (2006), University of Nebraska at Omaha, is Assistant Professor of Early Modern Art History. She has published on Lucas Moser’s Saint Magdalene Altarpiece and on other topics current in the field of Northern Renaissance art, including indulgence altarpieces, pilgrimage, Magdalene iconography, and artistic self-awareness. Contributors include: Joanne Anderson, Barbara Baert, Andrea Begel, Elizabeth Carroll Consavari, Bobbi Dykema, Jane Eade, Michelle Erhardt, Rachel Geschwind, Barbara Johnston, Patrick Hunt, Annette LeZotte, Amy Morris, Margaret Morse, Michelle Moseley-Christian, Vibeke Olson, and Lisa Rafanelli, with a preface by Susan Haskins.

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