Donatello, Mary Magdalene, c. 1455

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Donatello, Mary Magdalene, c. 1455 발음듣기

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(piano music) Man: We're in the museum of the Duomo in Florence and we're looking at a Donatello. It's not marble.발음듣기

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It's not bronze. It's wood. It looks so frail.발음듣기

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It's a sculpture of Mary Magdalene.발음듣기

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Woman: It's a very difficult sculpture to look at because it's ugly.발음듣기

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Mary Magdalene is shown as a hermit with her hands about to be clasped in prayer and she's old and wrinkled.발음듣기

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Her body is exposed to us. She's got these muscular arms.발음듣기

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Man: But thin also.발음듣기

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Woman: The skin on her chest and neck, and her face look like the skin of an old woman. It's difficult to look at.발음듣기

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Man: I think it's difficult because there is a whole series of contrast that we're not used to being shown in sculpture.발음듣기

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You have a body that clearly was once very beautiful. She's got high cheek bones.발음듣기

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She's tall and graceful. But you're right. The body has weathered.발음듣기

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This life has taken its toll.발음듣기

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And it's almost as if she's wasted away.발음듣기

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All that's left is a pure spirituality. The kind of pure faith.발음듣기

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She's clothed only in her very long hair, which is one of her attributes.발음듣기

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When we see a woman by, for instance, Christ's feet with long red hair we know that's Mary Magdalene.발음듣기

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Here that hair has grown out.발음듣기

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In fact, even her belt is actually her hair wrapped around her.발음듣기

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I think it's so interesting the choice of materials.발음듣기

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I started out by saying this is wood.발음듣기

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There's something about the organic quality of wood and its frailty, it's ability to soften, to rot, that seems somehow appropriate here.발음듣기

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Woman: Actually I'm amazed that it's in as good condition as it is given the fact that it's wood.발음듣기

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Man: Now if you look you can see that it's been painted. It's been guilded.발음듣기

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You can see that long hair had been painted red and gold and there are traces of that, that are still left.발음듣기

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There's a look on her face, which is so intense and yet at the same time almost as if she has left this earth already.발음듣기

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Woman: I see this very much as part of Donatello's interest in the specifics of an individual, just like we saw with Habakkuk.발음듣기

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This really intense specificity that's so different than the gothic and the medieval and deep sympathy for humanity that comes out of humanism of the early Renaissance.발음듣기

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Man: His sympathy is infectious.발음듣기

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There's however kind of power here as well.발음듣기

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Her hands are so long and so elegant, they almost create a kind of cathedral as she brings them together.발음듣기

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She is the church itself in some ways. She's an enormously important figure.발음듣기

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She sees Christ first when he is resurrected.발음듣기

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She is the figure that sees him crucified, that doesn't run away as so many of his followers did.발음듣기

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Woman: And she's someone who makes a very direct choice to leave a worldly life, to leave a life of the sensuality of the world for the spiritual.발음듣기

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Man: Think about how important that is as a message in Florence in the fifteenth century when you have a culture that has put enormous emphasis on material luxury, and here is somebody that functions as a conscience to the city.발음듣기

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You know, there's something else that's interesting though.발음듣기

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This is a late sculpture by Donatello.발음듣기

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He's left behind the proportional accuracy of say Saint Mark.발음듣기

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This is a figure that is almost gothic again in the length of her body.발음듣기

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There is a willingness here to put front and center this spirituality and the symbolism of the figure as opposed to emphasizing the anatomical accuracy.발음듣기

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Woman: Although she still stands in contropposto still there is that attention to the body that can only come from the early Renaissance.발음듣기

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Man: It is Donatello in a sense playing loose with his own rules. (piano music)발음듣기

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