Circle of Carlo Cignani, Noli Me Tangere, 1700, Oil on Canvas

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Description

Bolognese painter, late 17th century
Circle of Carlo Cignani (Bologna 1628 – Forlì 1719)

Noli me tangere
"The Apparition of … Read more Bolognese painter, late 17th century
Circle of Carlo Cignani (Bologna 1628 – Forlì 1719)

Noli me tangere
"The Apparition of Christ to Mary Magdalene"

Oil on canvas (120 x 92 cm - framed 132 x 103 cm)

This is a fascinating work, both for the rare subject immortalized and for the pictorial execution, which demonstrates the distinctive characteristics of Emilian painting, more specifically Bolognese, which made it one of the most appreciated schools in the rich panorama of Italian Baroque.

The scene is certainly pleasing, with a chiaroscuro effect that gives the two protagonists a beautiful plasticity, and the quality of the brushstrokes and drawing also appears good.
These characteristics contribute to creating a perfect compositional balance, evoking the essential models of 17th-century classicism conceived by the founder Guido Reni.

We are faced with the biblical episode known as "Noli me tàngere," with the appearance of the resurrected Jesus to Mary Magdalene.

Taken from the Gospel of John, it is a popular theme in 17th-century iconography. Christ, near the empty tomb, suddenly appears to Mary Magdalene, who, however, does not immediately recognize him and instead mistakes him for "the gardener." As soon as the woman sees him, she weeps and asks what has become of Christ's body. He responds by calling her only by name, thus finally making himself known.

It is at this point that Jesus utters the famous phrase "Noli me tàngere" (Latin for "do not hold me"), commanding Mary Magdalene to let him go and to inform the disciples of his resurrection.

Jesus is depicted holding a spade (not a stick as one might think), and this iconography is intended to represent Mary Magdalene's mistake in the biblical story, when she fails to immediately recognize Jesus, initially mistaking him for the gardener.

Detailing the attribution, the canvas reveals strong stylistic and compositional similarities with the works of the master Carlo Cignani (Bologna 1628 - Forlì 1719), so much so that it can be traced back to a painter in his circle.

ADDITIONAL INFORMATION:

The work is sold complete with a gilded wooden frame and comes with a certificate of authenticity and an iconographic . This piece is attributed to the mentioned designer/maker. It has no attribution mark and no
official proof of authenticity,
however it is well documented in design history. I take full responsibility for any authenticity



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