Evgeniy V. Yaylenko

The article deals with the principles of the creative method in the art of Titian Vecellio, the gratest painter of Venetian Renaissance, investigated on the base of analysis of two his paintings, "Crowning with Thorns", created at different stages of his life. To understand it in proper way it is possible to use in this respect the terms of classical rhetoric, which could be useful to deny some processes and principles of his work. Such a method helps to study them in the context of aesthetical polemics of mid-XVIth century on the merits of the two main Italian Renaissance schools of painting, Central Italian and Venetian.

Among the gospel stories, the episode with the appearance of the resurrected Christ to Mary Magdalene took a special place, first in the liturgy, and then, in a logical manner, in the complex of accompanying artistic phenomena, which could be groupped under the concept of "the Bible for the illiterate". This exciting scene is found in narrative cycles in the temple scenery, staged in productions of liturgical dramas and urban mysteries, and with the development of easel painting it stands out as a separate plot, which received the Latin name "Noli me tangere" (Don't touch me!).

In Northern Renaissance painting, the iconography of the subject was enriched by a number of features that were consolidated and developed in the art of the 16th–17th centuries. In some works these features were expressed in unexpected forms.

This article presents the characteristic features of the visual interpretation of the plot "Noli me tangere", in particular the interpretation, of the images of Mary Magdalene and Jesus Christ in Netherlandish painting of the 15th–17th centuries, based on the regional traditions of Germany and the Netherlands.