tag:blogger.com,1999:blog-6869916049311191069.post4808233910965054701..comments2023-10-22T04:39:08.255-07:00Comments on Eliza Turner: The Penitent Magdalene RevisitedEliza Turnerhttp://www.blogger.com/profile/03905023508860737865noreply@blogger.comBlogger2125tag:blogger.com,1999:blog-6869916049311191069.post-17272554897358464132013-04-08T21:12:49.244-07:002013-04-08T21:12:49.244-07:00Hello Kevin!
Unfortunately, there doesn’t seemed ...Hello Kevin!<br /><br />Unfortunately, there doesn’t seemed to be much information about Giaquinto’s personal life available; just the basic highlights and milestones of his life, but that’s about it. I also thought that perhaps Giaquinto was not the one behind the symbolism, but very little is known about this painting. It is unknown who commissioned it, and it is presumed to have been intended for an altarpiece, but again, nothing is certain. From its creation in 1750 until it turned up on auction in 2006, there isn’t any mention of it. What I do know is that Giaquinto became a member of the Accademia di San Luca in 1740, and traveled frequently across Italy and Spain. It is plausible that he could have made acquaintance with someone who did suggest the specific symbolism used in this particular painting. Giaquinto’s other works do not seem to have any special occult visuals. In fact, the Penitent Magdalene appears, at least to me, to be distinctly unique among the artists work. <br /><br />It should also be noted that Giaquinto’s The Lamentation (also at the MET) is oftentimes considered a mystical interpretation of the Passion. I feel that it is the most similar in style to the Penitent Magdalene out of any of his other works. It does not have any esoteric symbolism in it though. Eliza Turnerhttps://www.blogger.com/profile/03905023508860737865noreply@blogger.comtag:blogger.com,1999:blog-6869916049311191069.post-38590350444426471312013-04-08T05:02:41.899-07:002013-04-08T05:02:41.899-07:00Hi Osie ! The 18th century was not particularly an...Hi Osie ! The 18th century was not particularly an era versed in esoteric symbolism, quite the opposite in fact; the relationship between the open book illustration and actual events depicted seems to be the crucial factor to any interpretation. However, what would make your interpretation watertight is any evidence that Giaquinto was in any way acquainted with esotericism and its symbolism, perhaps in who he mixed with, or in other paintings by him, otherwise the Crown, Skull and Dove are standard Christian symbols, albeit with esoteric associations. Kevin Faulknerhttps://www.blogger.com/profile/15482886706239506749noreply@blogger.com