Noli me tangere, oil on copper, 52 x 70 cm, framed

Certificate:
Dr. Klaus Ertz.

This painting is the joint product of two painters specialized in different genres. The opulent figures, seemingly inspired by Rubens, are by the hand of an unknown Antwerp figure painter, whereas the meticulously rendered landscape, the birds, flowers, and other still life elements were painted by Jan Brueghel the Younger. Despite this division of work, the composition makes an absolutely homogeneous and balanced impression.

In the workshop of Jan Brueghel the Elder, where the son had been trained, the collaboration among several artists for a single painting was common practice. In contemporary Flemish art, this subject was rarely treated.

The subject comes from the Gospel of John (20:14–18). The resurrected Christ appears to Mary Magdalene when she stands by his empty sepulchre weeping. Not recognizing him at first, she assumes he is a gardener and asks him if he has removed the body of Christ. When he calls her by name, she realizes who he is and addresses him as “Master”. Jesus replies: “Touch me not, for I am not yet ascended to my Father.” He asks her to bring word to the disciples. In the present interpretation of the story, Jesus appears to Mary Magdalene in a garden. Dressed in a red cloak, he stands before her, a spade in one hand. The stigmata of the Crucifixion are distinctly visible on his body, and his head surrounded by a golden halo. The painting illustrates the moment when Mary Magdalene recognizes Jesus, falls to her knees, and stretches out her arms to welcome him. But Jesus warns her, saying: “Touch me not (Noli me tangere).” The flying drapery of Mary Magdalene complies with her sudden movement and excited state of mind. An ointment jar, her attribute, is discernible near her on the ground. The scene is rendered in a vast landscape in which the flowers are still blossoming, whereas the vegetables are ready to be harvested – an allusion to Paradise. Further to the back appears a small group of figures gesticulating at the entrance to the sepulchre. Jerusalem is visible in the far distance.

Dr. Ertz dates the present painting around 1640.