In the context of the Catholic Reformation serious concerns were expressed about the affective potency of naturalistic depictions of beautiful, sensuous figures in religious art. In theological discourse similar anxieties had long been articulated about potential contiguities between elevating, licit desire for an extraordinarily beautiful divinity and base, illicit feeling. In the later fifteenth and early sixteenth centuries, in the decades preceding the Council of Trent, a handful of writers, thinkers and artists asserted a positive connection between spirituality and sexuality. Leonardo da Vinci, and a group of painters working under his aegis in Lombardy, were keenly aware of painting’s capacity to evoke feeling in a viewer. Pictures they produced for domestic devotion featured knowingly sensuous and unusually epicene beauties. This article suggests that this iconography daringly advocated the value of pleasurable sensation to religiosity. Its popularity allows us to envisage beholders who were neither mired in sin, nor seeking to divorce themselves from the physical realm, but engaging afresh with age-old dialectics of body and soul, sexuality and spirituality.
Corry, Maya
Faculty of Arts, Humanities and Social Sciences
Year of publication: 2024Date of RADAR deposit: 2025-01-28