Noli Me Tangere

The contrast between delicate landscape and robust figures in this small panel suggests that two painters may have collaborated here. The figures appear stylistically close to those artists who studied with Rubens, most notably Jan van den Hoacke (1611-1651).

In this panel, the subdued sunlit sky and shaded trees provide a graceful foil for the foreground figures. The combination of dainty flowers in the style of Brueghel and sturdy figures in the style of Rubens was a popular one, made so by the collaboration of the two Antwerp artists, Jan Brueghel the Elder and Rubens, during the second decade of the seventeenth century. The juxtaposition of delicate naturalia and physically strong figures present in Noli Me Tangere was likely painted in imitation of the collaborative works by Rubens and Brueghel.

The episode of Christ’s appearance to Mary Magdalene after his resurrection and before his ascension has retained its traditional Latin title: Noli me tangere (Do not touch me). Mary Magdalene, at first believing Christ to be the gardener, only recognizes his true identity after he has called her by name. Expressed in the encounter between Christ and Magdalene are initial doubts, a need for reassurance, and finally, reaffirmation of faith on her part and divine comfort and admonition on his part. The painter of these figures has used gesture and gaze to convey the Magdalene’s complicated feelings and Christ’s gentle benediction.