Imaginationen des Weiblichen: Maria Magdalena in der Kunst des Fin de siècle
The reception of Mary Magdalene in the art of the fin de siècle (1870–1914) is an interesting subject area that should definitely be explored further. This epoch was particularly characterized by a sense of doom and fears for the future, but also by progressive thinking, emancipation and renewal eff...
| Main Author: | |
|---|---|
| Format: | Electronic Article |
| Language: | German |
| Check availability: | HBZ Gateway |
| Fernleihe: | Fernleihe für die Fachinformationsdienste |
| Published: |
Deutsche Bibelgesellschaft
2024
|
| In: |
Die Bibel in der Kunst
Year: 2024, Volume: 8, Pages: 1-40 |
| Standardized Subjects / Keyword chains: | B
Femininity
/ Imagery
/ Europe
/ Art
/ Emancipation
/ Anxiety
/ Femmes fatale
/ Femme fragile
/ Bible. Lukasevangelium 8,2
|
| IxTheo Classification: | HC New Testament |
| Online Access: |
Volltext (kostenfrei) |
MARC
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| 520 | |a The reception of Mary Magdalene in the art of the fin de siècle (1870–1914) is an interesting subject area that should definitely be explored further. This epoch was particularly characterized by a sense of doom and fears for the future, but also by progressive thinking, emancipation and renewal efforts. The accompanying uncertainty of previously unquestioned masculinity found artistic expression in various imaginings of the feminine. With recourse to mythological and biblical female figures, the artists processed their longings, sexual desires and also fears. In their works we encounter different constructions of femininity, such as the femme fatale, the femme fragile, or the femme infant. Along with Salome, Eve, and Judith, Mary Magdalene is one of the most common biblical female figures to be aesthetically processed in this era. A strong eroticization of the subject can be observed. However, only further research will be able to show whether Mary Magdalene was really seen in the role of the destructive femme fatale. | ||
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