Parure, parfum, pavane : le regard genré et deux Madeleine de Carlo Crivelli

The two Mary Magdalens that Carlo Crivelli painted for the Franciscans in the latter 15th C, now at Montefiore del'Aso and Amsterdam, are some of the most popular works of the Veneto-Marchesan painter. Their mannered graces, elegant and elaborate array, and sidelong glances intrigue the viewer...

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Main Author: Vicki-Marie Petrick
Format: Article
Language:fra
Published: Centre d´Histoire et Théorie des Arts 2019-12-01
Series:Images Re-Vues
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Online Access:https://journals.openedition.org/imagesrevues/7833
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author Vicki-Marie Petrick
author_facet Vicki-Marie Petrick
author_sort Vicki-Marie Petrick
collection DOAJ
description The two Mary Magdalens that Carlo Crivelli painted for the Franciscans in the latter 15th C, now at Montefiore del'Aso and Amsterdam, are some of the most popular works of the Veneto-Marchesan painter. Their mannered graces, elegant and elaborate array, and sidelong glances intrigue the viewer who might expect a different appearance from a penitent prostitute. This paper examines how these choices are meaningful within the artistic and devotional traditions of Venice and the Marches, specifically within a Franciscan context, but also how they bear specifically on the period notions of Mary Magdalen, less as penitent than as a sort of sainted seductress. In the course of my argument, I examine how the perfume of the the Magdalen is pictured, with special attention to the possibility of picturing danse with regard to the Rijksmuseum image, while exploring the notion of the gendered gaze.
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series Images Re-Vues
spelling doaj-art-0b0562f97efd48a9a01182bfe78bc85f2025-08-20T02:20:18ZfraCentre d´Histoire et Théorie des ArtsImages Re-Vues1778-38012019-12-011610.4000/imagesrevues.7833Parure, parfum, pavane : le regard genré et deux Madeleine de Carlo CrivelliVicki-Marie PetrickThe two Mary Magdalens that Carlo Crivelli painted for the Franciscans in the latter 15th C, now at Montefiore del'Aso and Amsterdam, are some of the most popular works of the Veneto-Marchesan painter. Their mannered graces, elegant and elaborate array, and sidelong glances intrigue the viewer who might expect a different appearance from a penitent prostitute. This paper examines how these choices are meaningful within the artistic and devotional traditions of Venice and the Marches, specifically within a Franciscan context, but also how they bear specifically on the period notions of Mary Magdalen, less as penitent than as a sort of sainted seductress. In the course of my argument, I examine how the perfume of the the Magdalen is pictured, with special attention to the possibility of picturing danse with regard to the Rijksmuseum image, while exploring the notion of the gendered gaze.https://journals.openedition.org/imagesrevues/7833Carlo CrivelliFranciscan artperfumegendered gazecourtesandressing
spellingShingle Vicki-Marie Petrick
Parure, parfum, pavane : le regard genré et deux Madeleine de Carlo Crivelli
Images Re-Vues
Carlo Crivelli
Franciscan art
perfume
gendered gaze
courtesan
dressing
title Parure, parfum, pavane : le regard genré et deux Madeleine de Carlo Crivelli
title_full Parure, parfum, pavane : le regard genré et deux Madeleine de Carlo Crivelli
title_fullStr Parure, parfum, pavane : le regard genré et deux Madeleine de Carlo Crivelli
title_full_unstemmed Parure, parfum, pavane : le regard genré et deux Madeleine de Carlo Crivelli
title_short Parure, parfum, pavane : le regard genré et deux Madeleine de Carlo Crivelli
title_sort parure parfum pavane le regard genre et deux madeleine de carlo crivelli
topic Carlo Crivelli
Franciscan art
perfume
gendered gaze
courtesan
dressing
url https://journals.openedition.org/imagesrevues/7833
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