Elena Rossi
There are several paintings titled Noli Me Tangere by various artists, including Pietro Perugino, Titian, Correggio, and Hans Holbein. The Perugino painting, created between 1500 and 1505, is currently displayed at the Art Institute of Chicago. Titian's Noli Me Tangere, believed to have been painted around 1514, is part of the National Gallery's collection in London. Correggio's Noli Me Tangere, dating from around 1525, can be found at the Museo del Prado in Madrid. Holbein's painting, created between 1526 and 1528, is housed in the Royal Collection and is displayed at Windsor Castle. Additionally, 28 paintings by Leonardo Tayao Cruz, also titled Noli Me Tangere, were exhibited at the National Museum of Fine Arts in the Philippines.
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What You'll Learn
Noli Me Tangere by Titian, National Gallery, London
Noli Me Tangere, Latin for 'Don't Touch Me' or 'Stop Touching Me', is a painting by Titian, dated circa 1514. It depicts the moment when Mary Magdalene, having discovered that Christ's tomb is empty, encounters him in the Garden of Gethsemane. At first, she mistakes him for a gardener but then reaches out her hand in wonder. Christ, risen from the dead, says, 'Do not touch me' (in Latin, noli me tangere), instructing his followers to let go of his earthly presence and await the Holy Ghost (John 20: 14-18).
The painting is one of the earliest works by Titian in the collection of the National Gallery in London, where it has been since the nineteenth century. It is considered a relatively early painting by the great Venetian master. The focus of the picture is on the interplay of gestures and gazes between Christ and Mary Magdalene. The figures are set in a natural landscape, echoing the style of Giorgione, with whom Titian trained. Titian's use of high-key colours and expressive brushwork showcases his interest in the textural possibilities of paint, a hallmark of his mature and late styles.
The composition of the painting is carefully constructed to convey complex emotions and interactions. Mary Magdalene is positioned on the ground, bound horizontally to the Earth, while Christ stands upright, his body arched protectively over her. The gentle sweep of his body and the way he gathers his garment out of Mary's reach convey a sense of simultaneous withdrawal and protection. The diagonal and vertical orientations of the figures, along with the intersecting lines of the tree and the hillside, draw attention to the line of eye contact between them.
The rendering of light and tumbling mists at dawn, as well as the differentiation in the whites of Mary Magdalene's veil, Christ's burial shroud, and his loincloth, showcase Titian's mastery of texture and light. X-ray images reveal that Titian made numerous changes to the landscape during the painting's creation, indicating his thoughtful approach to the composition. The group of buildings on the right of the painting also appears in reverse in Titian's other works, such as 'Sacred and Profane Love' and 'Sleeping Venus', both dated to around 1514.
Noli Me Tangere has a rich history beyond its creation. During World War II, it was evacuated to a Welsh slate mine to protect it from bombing. In 1942, it became the first painting to be returned from exile, attracting tens of thousands of viewers seeking consolation in art during a difficult time.
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Noli Me Tangere by Correggio, Museo del Prado, Madrid
Noli Me Tangere by Correggio is currently housed in the Museo del Prado in Madrid, Spain. The painting, which dates back to around 1525, is one of Correggio's first mature paintings and a masterful illustration of a religious narrative. It measures approximately 130 by 103 centimeters and is an oil painting on canvas.
The artwork captures a pivotal moment from Christian scripture, depicting an encounter between Jesus Christ and Mary Magdalene after his resurrection. The title, "Noli Me Tangere," translates to "Touch Me Not" or "Do Not Hold Me," a phrase that Jesus is believed to have spoken to Mary when she recognized him. In the composition, Jesus is shown standing in a contrapposto posture, his body partially draped in a flowing blue garment. His right arm is gently raised, indicating his directive for Mary not to touch him, while his left arm points heavenward, indicating his ascension yet to come.
The painting is renowned for its human emotion and exquisite detail, reflecting the influence of Correggio's stay in Rome between 1518 and 1519, which included the works of late Raphael and the Michelangelo of the Sistine Chapel. The style of Christ's body and clothing also bear the influence of Greek sculpture common to Renaissance art. Notably, Correggio chose not to depict the wounds of Christ's crucifixion, instead emphasizing the joyous nature of his ascension.
The enduring presence of Noli Me Tangere at the Museo del Prado ensures that this masterpiece of the High Renaissance continues to inspire and engage audiences with its timeless spiritual and artistic significance.
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Noli Me Tangere by Perugino, The Art Institute of Chicago
Noli Me Tangere, a painting by Perugino (Pietro di Cristoforo Vannucci), is currently displayed at the Art Institute of Chicago. The painting dates back to 1500-1505 or 1506/1507 and is a serene and decorous work of art that was influential in the artist's native region of Umbria and beyond. Perugino's contact with the young Raphael is said to have contributed to his widespread influence.
The painting is one of four panels that, along with another panel depicting the Resurrection now at the Metropolitan Museum of Art in New York, once constituted a predella. A predella is a series of small pictures, often with narrative content, that form the base of an altarpiece. The scenes depicted in the predella panels illustrate moments when Christ's special nature was revealed, including his birth, his baptism by Saint John the Baptist in the River Jordan, his conversation with a woman of Samaria at the well of the patriarch Jacob, the Resurrection, and his appearance to Mary Magdalene after the Resurrection (Noli Me Tangere).
The Noli Me Tangere panel, measuring 27.3 x 46.3 cm, is part of the Mr. and Mrs. Martin A. Ryerson Collection at the Art Institute of Chicago. The painting is executed in tempera on a panel that has been transferred to canvas. This technique, along with Perugino's serene style, would become characteristic of his mature artistic phase.
The Art Institute of Chicago's collection also includes other works by Perugino, such as "Natività" (Nativity), "Battesimo di Cristo" (Baptism of Christ), and "Cristo e la Samaritana" (Christ and the Samaritan Woman). These paintings showcase Perugino's artistic style and contribute to his legacy as a renowned Italian Renaissance painter.
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Noli Me Tangere by Hans Holbein, Royal Collection, Windsor Castle
Noli Me Tangere, a painting by Hans Holbein the Younger, is currently displayed at Windsor Castle and is part of the Royal Collection. The painting, created between 1526 and 1528, depicts the biblical scene of Mary Magdalene encountering the resurrected Jesus Christ at his tomb.
The title of the painting, "Noli Me Tangere," is Latin for "touch me not," reflecting the words spoken by Jesus to Mary Magdalene in the narrative. The scene captures the moment when Mary, having found the tomb empty except for two angels, turns and encounters Jesus, whom she mistakes for a gardener. Holbein's interpretation of this moment emphasizes the dynamic movement and awkwardness of the encounter.
The painting is characterized by its striking use of light and shadow, with Christ's face illuminated by the dawn light while Mary's remains in half shadow, conveying a sense of confusion, doubt, and sadness. The interior of the tomb, radiating ethereal light, houses the two angels, one of whom gazes directly at the viewer.
This work by Holbein differs from his other religious paintings, which were typically intended as large altarpieces. Noli Me Tangere is a smaller, more intimate narrative scene. The painting also showcases Holbein's attention to detail, with meticulously painted plants and trees that carry symbolic significance related to healing, spiritualism, majesty, death, and the Crucifixion and Resurrection.
The Royal Collection Trust, a registered charity, is responsible for the care and conservation of the Royal Collection, which includes Noli Me Tangere. The Trust also aims to promote access to and enjoyment of the collection through exhibitions, publications, loans, and educational activities.
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28 Noli Me Tangere paintings, National Museum of Fine Arts
The Noli Me Tangere paintings by Leonardo Tayao Cruz are currently displayed at the National Museum of Fine Arts in the Philippines. The collection consists of 28 oil paintings inspired by Jose Rizal's novel of the same name. Completed between 2002 and 2006, the paintings were previously exhibited at the Rizal Shrine in Fort Santiago in 2008.
The Noli Me Tangere exhibit is located on the Judiciary Floor of the museum, specifically in the Sandiganbayan Reception Hall and Gallery. This collection of paintings is notable for its classical-impressionist style, bringing to life the scenes and characters from Rizal's novel. The paintings have been praised for their ability to capture the essence of the novel and present it in a new light.
One of the most renowned paintings with the same title, "Noli Me Tangere," is by the Italian Renaissance artist Perugino (Pietro di Cristoforo Vannucci). This painting, created between 1500 and 1505, is currently displayed at the Art Institute of Chicago. It depicts the moment when the resurrected Christ appears to Mary Magdalene, who reaches out to him in wonder. The Latin phrase "Noli me tangere" translates to "Do not touch me," signifying the time for Christ's followers to let go of his earthly presence and await the Holy Ghost (John 20: 14-18).
Another notable work with the same title is by the Italian Renaissance artist Titian, currently exhibited at the National Gallery in London. This painting, one of the earliest works by Titian in the National Gallery's collection, showcases his mastery of high-key colours and natural landscapes, influenced by his training with Giorgione. Titian's "Noli Me Tangere" also portrays the encounter between the resurrected Christ and Mary Magdalene, focusing on the interplay of gesture and gaze between them.
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Frequently asked questions
There are several paintings with this title, including:
- The Art Institute of Chicago—painted by Perugino between 1500 and 1505
- The National Gallery, London—painted by Titian in c. 1514
- The Royal Collection, Windsor Castle—painted by Hans Holbein in 1526–28
- Museo del Prado, Madrid—painted by Correggio c. 1525
- National Museum of Fine Arts, Philippines—a collection of 28 paintings by Leonardo Tayao Cruz
Noli Me Tangere translates to 'Touch Me Not' or 'Do Not Hold Me'.
The painting depicts the moment when Christ appears to Mary Magdalene after his resurrection. Mary reaches out to him, and Christ says, 'Do not touch me', telling his followers to let go of his earthly presence and await the Holy Ghost.
The painting is known for its use of high-key colours and the way the figures are set in a natural landscape. The lines of the tree and the hillside draw attention to the eye contact between Christ and Mary Magdalene. The painting also features expressive brushwork and an interest in the textural possibilities of paint.
The Noli Me Tangere painting was created around 1514 by the artist Titian. It is one of the earliest works by the artist in the National Gallery's collection.
