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Late Giampetrino with an aesthetic and soulful note embodies his entire inner world in the “Penitent Mary Magdalene”. This painting was written on a plot very typical of the era of the counter-reformation.
On the other hand, the artist, in fact, again and again confirms the presence in his work of a pagan and humanistic foundation. The viewer should pay attention, as a convinced realist to the core, confidently reconsiders the religious-mystical situation, thereby making the canvas, which relative to its idea and embodiment, is a hostile reactionary-mystical inner line.
For the author, in the first place is not the pathos component of the general plot of repentance, which does not attract the taste of religious worship and in no way the corruption of the flesh, from where the human soul tears to heaven.
Particular attention should be paid to the nondescript, but intense color tones that give a special dramatic effect. At the same time, thanks to the play of light and shadow, it is possible to achieve dynamics in texture. In this case, rigid contours and the absence of plasticity are not observed. In general, the definiteness of form fully coincides with the internal dynamics and movement.
The chest seems to breathe, and the hair does not just lie, but fall off. You can notice how the light sways pleasantly in the hair, while at the same time it seems to be struggling with juicy shadows and literally sculpts the shape of the body.
The master directly admires Magdalene. The canvas shows how beautiful a person is in his natural beauty, and his feelings are, at the same time, as significant and distinct as possible, come to the fore. But despite all this, not only Maria suffers, but also the author of the canvas, and these feelings are clearly conveyed to the viewer. The serenity was broken, but despite this, even the background of a rebellious person was not burdened with grief.