Noli Me Tangere, after Dürer 1821

Editor: This is Moritz von Schwind’s "Noli Me Tangere, after Dürer." It's a small print at the Harvard Art Museums, illustrating a biblical scene. The woman's posture seems so vulnerable. What draws your eye in this piece? Curator: The title itself, "Noli Me Tangere," or "Touch Me Not," speaks volumes about boundaries, especially regarding power and the female body. Consider the historical context: religious narratives often portrayed women as subservient. How does Schwind's interpretation challenge or reinforce those ideas? Editor: I hadn’t thought about the power dynamics. It's like she is reaching for something unattainable. Curator: Exactly. And Dürer's influence suggests a dialogue with the Reformation's emphasis on individual faith. This work prompts us to examine how religious stories are used to negotiate social and political change, especially concerning women. What can we learn from the woman’s representation? Editor: Viewing it through that lens makes me reconsider the whole scene as something much more complex. Curator: Indeed. Art is rarely neutral. Examining its context reveals its potential for resistance or complicity.