In "Tintoretto 2019", Atti del Convegno Internazionale di Studi (Scuola Grande di San Rocco, Istituto Veneto di Scienze, Lettere e Arti, Venezia, 30 settembre -1, 2 ottobre 2019), Istituto Veneto di Scienze, Lettere e Arti - Scuola Grande di San Rocco, Venezia 2021, pp. 51-63., 2021
The aim of the article is to show how, starting from some ideas of the primarily spiritual, devot... more The aim of the article is to show how, starting from some ideas of the primarily spiritual, devotional and homiletic literature, the pain of the Virgin Mary experienced on the occasion of the Passion and death of her Son becomes particularly significant in some of Jacopo Tintoretto’s works; and how these, in turn, are not restricted to reflecting what comes from the literature, but reformulate it in original ways and relaunch it, conditioning the results in a dynamic of virtuous circularity. In a period like the second half of the sixteenth century, when texts and images were part of the same ‘widespread’ religious climate, from which they were derived and in which they actively intervened through the use of shared themes and meanings, the devotional refocusing on the Passion of Christ also saw Our Lady of Sorrows playing a central role. Never before as in this period had Mary’s pain taken on precise theological meanings, becoming generative (the Virgin’s second, painful, spiritual delivery beneath the cross, thanks to which she became Mother of the Church and of believers) and redemptive (the pain of Mary, the new Eve, cooperates in paying for the redemption of sinful humanity by her Son). Tintoretto reworked these ideas in some of his most famous works, presenting Mary’s suffering either as an agonal entrustment to the divine will or as reflecting and reciprocating that of Christ, thus a model of participatory continuation, either as the throes of childbirth, or as co-operative in salvific and sacramental grace.
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the cycle as a whole, the article moves to The Annuciation, considering in a particular way Mary’s figure.
the cycle as a whole, the article moves to The Annuciation, considering in a particular way Mary’s figure.