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| Camille Paglia @Michael Lionstar |
Dwight Garner, The New York Times
maart, 2017
Jane Haile, new york journal of books
Sietske Bergsma, The Post Online
juni, 2017
In veel kan ik met haar meegaan, soms is het over de top, maar stof tot nadenken biedt ze zeker. Over kunst schrijft ze ook. Over de sterke, krachtige vrouw als symbool. Een fragment over de middeleeuwse 'vierge ouvrante', de 'open maagd'.
"Had I had more time, I would have liked to show Etruscan enthroned goddesses (ca. 5th century B.C.), where woman was defined by her lap and embracing arms, and also ancient Roman portrait busts where aging matrons flaunted their wrinkles and double chins. But I moved on to the Middle Ages with a fifteenth-century German carved-wood Vierge ouvrante ("opening Virgin") from the Musée National du Moyen-Age (Cluny): the hinged tabernacle doors swing out to reveal Mary's body as internal space. These popular devotional items, sometimes called Shrine Madonnas, were finally banned by the Pope. They show Mary as a cosmic cathedral containing Jehovah and the crucified Jesus, as if she were a Great Mother Goddess like the winged Isis.
A fruitfull comparison would be to Piero della Francesca Misericordia (Madonna of Mercy, ca. 1460) where a giant Mary spreads het bat-like cape to shelter humanity."
