Christus verschijnt als tuinman aan Maria Magdalena (Noli mi tangere), naar Bartholomeus Spranger 1588 - 1595

Curator: Up next, we have an engraving from between 1588 and 1595, “Christus verschijnt als tuinman aan Maria Magdalena (Noli mi tangere), naar Bartholomeus Spranger,” created by Johann Sadeler I. It's part of the Rijksmuseum's collection. Editor: Right away, the drama of this moment hits you, doesn’t it? Mary Magdalene’s shock and surprise are almost palpable. Curator: Indeed. The composition leads your eye from Mary's upturned face, with its tight curls meticulously rendered by the engraver, to Christ, depicted with his gardening tools and iconic hat. This choice of garb creates a tension. His holiness is present but framed by his disguise. Editor: I agree; I think the strangeness is emphasized in his strangely direct gaze and gesture. There's a tension between the earthly and divine— the rugged shepherd's crook is balanced by that subtle halo. I imagine Mary, still reeling from grief, must be so stunned. Curator: Precisely, the title, "Noli me tangere," Latin for "Do not touch me," signifies Christ's instruction to Mary after his resurrection. This is key to the moment depicted—an intersection between mortality and the divine. This piece employs techniques prevalent in Italian Renaissance art. The sharp lines and contrasting tones enhance the drama inherent in the subject. Editor: And think about the very materiality of an engraving – so precise, so calculated – yet capturing this utterly human, almost raw moment of disbelief and recognition. There is even a feeling of melancholy lingering within all this revelation. Curator: I concur. Sadeler masterfully translates Spranger's vision, encapsulating a complex interplay between human emotion, spiritual awakening, and the physical constraints of the medium itself. Editor: This makes you consider the intimacy of this encounter between Christ and Mary, the emotional weight it carries—especially considering how it has resonated across centuries and different interpretations.