O séquito de Da Vinci na renascença italiana: retratos de Maria Madalena pelo artista Giampietrino

Abstract

The present work aims to analyze portraits of the biblical character Maria Magdalene, produced by artist Giampietrino, apprentice of Leonardo Da Vinci, in the 16th century, namely: Maria Magdalena Penitente, Santa Maria Maddalena and Maria Magdalena. The relevance of the work lies in the historiographical discussion about the Italian Renaissance and the artistic production of the period, considering that the works done by apprentices of great artists of the time did not obtain such notoriety and the analysis of Maria Madalena's paintings, produced by Giampietrino will be analyzed using Panofsky's Iconology and Iconography methodology. Through this methodology, it was possible to apply the three levels of analysis proposed by Panofsky: pre-iconographic description, iconographic analysis and iconological analysis. It was also possible to analyze comparatively the three images with each other, with images of other artists of the time and between master, Leonardo, and apprentice, Giampietrino. Through analysis, one can see the performance of the art market and the influence on the lives of artists. Finally, it is concluded that the study of apprentices of great artists contributes to the understanding of Renaissance society, and about the portrayed character, Mary Magdalene obeyed the pattern of representation imposed by the Church at the time. The ideals of beauty followed Greco-Roman standards to portray a more beautiful story. Giampietrino has left a vast production with extensive possibilities for analysis and production in the area of Art History.