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In "The Penitent Mary Magdalene" Carvaggio depiction of Mary Magdalene seemed so lifelike that it was once believed to have been a simple portrait of a girl drying her hair, only retrospectively dignified with a religious title. The repentant Mary Magdalene was a much talked about subject of the the times, but Caravaggio's version should have been recognized as heretical, especially by the man who commissioned it--a Catholic Monsignor named Petrignani. The painting shows a young girl in her teens or twenties seated on a low stool, one tear running down her cheek, with her hands in her lap. It is the position of the hands in the painting that give the telltale clue that something is amiss in the scene. Unlike most of his contemporaries who drew their compositions from their own imaginations, Caravaggio used live models while working, He therefore became very skilled in depicting naturalistic poses, and it is surprising that in this painting Mary Magdalene's hands do not seem to be naturally placed in her lap, unless Caravaggio had instructed his model to pretend she was cradling a baby. Mary has also set aside the jewelry a baby might grab, and even has on her lap a baby's support cushion. | ||||||||
Mary Magdalene's popularity can be seen in the many paintings in which she appears, especially from the 12th to the 16th centuries. Devotion to her was strongly rooted in the Low Countries, in Italy, France, Germany and Spain.The image of the penitent Mary Magdalene enjoyed great popularity between the years 1650-1750. Cardinal Baronius, in his very critical and hard-hitting polemics against Protestantism, employed the subject (along with that of the penitent St Peter) to emphasize the necessity and validity of penance, a sacrament discarded by the reformers. |
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The Assumption of Mary Magdalene has been frequently represented, she being borne to heaven by angels. Ribera's picture in the Louvre is a zenith of composition and color, and is a delightful example of his art since it has none of the common repulsive features of many of his pictures. In too many cases the Magdalene of the Assumptions might as suitably be called a Venus or a Cleopatra, upheld by cupids. | ||||||
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Ribera became an acute painter of still lifes, and of landscapes. His skill at the latter is evident in an extraordinarily supple rendition of the Bay of Naples that forms the backdrop for "The Assumption of Mary Magdalene." In part Ribera's naturalism can be thought of as a heritage from his native country, Spain. |
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Jules Joseph Lefebvre was an apprentice of Leon Cogniet from 1852 and competed at the Ecole des Beaux-Arts in Paris from 1853 until he won the Prix de Rome in 1861. In Rome he was influenced by Mannerism, and especially by Andrea del Sarto, whose works he copied. Lefebvre drew with precise draftsmanship, using delicate colors and a lubricity in all of his works.
Beginning in the late 15th century, Mary Magdalene's body
becomes increasingly eroticized. This trend continued to gain steam as time
passed on. In
Lefebvre's "Mary Magdalene in the Cave", Mary is lying in a cave with
her legs slightly crossed, her long hair flowing gently on her left hand side.
The work was completed in 1876. |
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