Love and truth touch by pushing away: they force the retreat of those whom they reach, for their very onset reveals, in the touch itself, that they are out of reach. It is in being unattainable that they touch us, even seize us. What they draw near is their distance: they make us sense it, and this sensing is their very sense. It is the sense of touch that commands not to touch. It is time, indeed, to specify the following: Noli me tangere does not simply say “Do not touch me”; more literally, it says “Do not wish to touch me.”

-Jean-Luc Nancy, Noli me tangere: On the Raising of the Body

Matthias Grünewald, The Resurrection (from Isenheim Altarpiece), c.1515

Correggio, Noli me tangere, c.1525

edlorado:

Villica-caja - Francis Picabia (1929)

necspenecmetu:

Guido Reni, Saint Roch, 1617

Watching the Spring and Listening to the Wind, Tang Yin (1470–1524)

composition-improvisation:

Tang Yin, Tao Gu Presents a Poem, c. 1615

composition-improvisation:

Jean-Baptiste Armand Guillaumin, Hollow in the Snow, c. 1869

poboh:

Rostro y mano, Oswaldo Guayasamín. Ecuadorian (1919 - 1999)

composition-improvisation:

Leonor Fini, Forêt, c. 1960