Lambert Sustris places the scene in a garden that could be that of a Renaissance palace! Ponds, a fountain and pergola brighten up the compartmented flowerbeds. The resulting perspective dramatises the encounter between the two protagonists.
Inserting a biblical scene into a royal Renaissance setting is anachronistic! This type of representation heralds the religious works of another Venetian painter, a contemporary of Sustris: Paolo Veronese!
The saint, in all her elegance, takes on a royal appearance. Her left hand over her heart as a sign of love and faith, she holds an alabaster vase used for funeral rituals. The gardener is identifiable by his hoe.
But who is this man? Why does the saint kneel before him? Could he be that important? What message is he delivering to her? It is, in fact, Jesus! With the words "Noli me tangere", he signifies he is risen, pointing with his hand to heaven, the kingdom of God he will soon join...
The painting boasts a prestigious provenance: the coat of arms at bottom left has been identified as that of the Fugger von Kirchberg und Witzenhorn family in Augsburg. It was then acquired by the wealthy banker and famous collector Everhard Jabach. He sold it to Louis XIV in 1671. In 1801, Christ as gardener appearing to Magdalen was sent by the State to join the collections of Lille Museum. It’s under this title and attributed to Dosso Dossi that the painting was listed at that date. The attribution to Sustris was made before 1835.
Detail 1 : The painting recently underwent major restoration of both the canvas and the paint layer. The thickened, yellowed varnish was thinned. This makes it easier to read the scene, revealing the original freshness of the palette! (photograph before restoration)
Detail 2 : Under the arbour supported by elegant caryatids, Mary Magdalene, the first witness of the Resurrection and disciple of Jesus, sets off to spread the Good News to the apostles.
Lambert Sustris places the scene in a garden that could be that of a Renaissance palace! Ponds, a fountain and pergola brighten up the compartmented flowerbeds. The resulting perspective dramatises the encounter between the two protagonists.
Inserting a biblical scene into a royal Renaissance setting is anachronistic! This type of representation heralds the religious works of another Venetian painter, a contemporary of Sustris: Paolo Veronese!
The saint, in all her elegance, takes on a royal appearance. Her left hand over her heart as a sign of love and faith, she holds an alabaster vase used for funeral rituals. The gardener is identifiable by his hoe.
But who is this man? Why does the saint kneel before him? Could he be that important? What message is he delivering to her? It is, in fact, Jesus! With the words "Noli me tangere", he signifies he is risen, pointing with his hand to heaven, the kingdom of God he will soon join...
The painting boasts a prestigious provenance: the coat of arms at bottom left has been identified as that of the Fugger von Kirchberg und Witzenhorn family in Augsburg. It was then acquired by the wealthy banker and famous collector Everhard Jabach. He sold it to Louis XIV in 1671. In 1801, Christ as gardener appearing to Magdalen was sent by the State to join the collections of Lille Museum. It’s under this title and attributed to Dosso Dossi that the painting was listed at that date. The attribution to Sustris was made before 1835.
Detail 1 : The painting recently underwent major restoration of both the canvas and the paint layer. The thickened, yellowed varnish was thinned. This makes it easier to read the scene, revealing the original freshness of the palette! (photograph before restoration)
Detail 2 : Under the arbour supported by elegant caryatids, Mary Magdalene, the first witness of the Resurrection and disciple of Jesus, sets off to spread the Good News to the apostles.
