User:MadelineMadrid/sandbox/Mary Magdalene (Artemisia Gentileschi)

Pentinent Magdalene is a 1616–1618 painting by the Italian baroque artist Artemisia Gentileschi. It hangs in the Pitti Palace in Florence.^[1] This painting depicts the biblical figure Mary Magdalene, but references another biblical woman, Mary, the sister of Lazarus.^[2] This painting was likely painted in Florence during Gentileschi's Florentine Period.^[3]

The figure is portrayed is Mary Magdalene in a gown of yellow silk.^[4] This image of Mary Magdalene demonstrates the saint as a “model of Zealous devotion,” as she is shown in the moment of her changing from a sinner’s path to one devoted to Christ.^[2] Magdalene’s depiction departs from her traditional representation: Mary Magdalene is repentant and suffering, but she is not shown with a skull, she is not in landscape setting, and there is no crucifix by her.^[5]

The work is signed "Artemisia Lomi" on the wooden upright of the chair, although this signature may be that of a later hand.^[3] The painting is constructed from three pieces of canvas, with the strip running down the left hand side, and chair upon which the signature is found, being a possible later addition.^[3]

Genitleschi would have been welcome in workshops or academies because she was a woman.^[6] Despite this, Gentileschi became a member of the Accademia del Disegno in 1616.^[2][7] The exaggerated actions and expressions, as well as the luxury items in this painting, are stylistic indicators that this painting was painted in Florence.^[3] Bissel R. Ward claims these elements, as well as the color scheme of gold, red and green can be understood in this painting as the Florentine Baroque style.^[3]

Gentileschi was known for her innovative interpretations of traditional subject matters: she brought a womanly perspective to an otherwise male dominated field, and therefore commonly expressed stories of heroism by women.^[7]

Gentileschi was greatly influenced by the works of Caravaggio, who would have also been painting scenes of Mary Magdalene at the Gentileschi was growing up.^[2][4] Gentileschi would develop her dramatic use of light and shadows, also known as chiaroscuro, from the paintings of Caravaggio she had access to, who utilized this technique in his paintings as well.^[8] The dramatic sense of lighting in the Penitent Magdalene can be observed in the stark contrast between the subject Mary Magdalene and her background, as well as the deep folds of her dress' fabric contrasting with the folds of her dress.

This depiction blends elements from two different biblical women: Mary, the sister of Lazarus (as referenced by the quotation) and Mary Magdalene, signified by the jar of ointment at her feet.^[2] The combination of multiple biblical characters to form Mary Magdalene was to be expected, as the three characters were considered the same person in the sixth century.^[2] Though Mary Magdalene's chemise slips down breast, it does not reveal her body, alluding to Mary Magdalene’s eroticized past, but this inclusion does not eroticize her here, as she is often depicted.^[2] Mary Magdalene was a commonly depicted figure at this time due to her relatable story: Mary Magdalene underwent a transition from a sinner to a repentant sinner.^[4]

This devotion is expressed in the upward glance of her head toward heaven, and the intense anxiety of her expression, as she leaves behind her erotic past.^[2] This scene is further supported as a moment of conversion by Mary Magdalene pushing away a mirror (a symbol of vanity) inscribed with the words Optimam partem elegit (“you have chosen the best part”).^[4] The quote is derived from the Bible, Luke 10: 41–42, in which Jesus teaches Martha that her sister Mary has made a better choice in embracing a spiritual life - a quote highly relevant to the subject.^[3] This phrase was likely not added by Gentileschi at all, but by another person at a later point in time, which is evidenced by the words appearing in the gloss of the canvas.^[3]

Mary Magdalene's expensive clothing and her sensual appearance do not contradict the spiritual meaning of this piece.^[3] The gesture of Magdalene’s left arm is an exaggerated expression which interpreted with the jewelry box next to her, indicates that she is refusing vanity.^[3]

Scholars like Mary Garrard interpret Artemesia's works, such as the Penitent Magdalene, to be representing Gentileschi.^[2] This interpretation is often understood because both the saint and painter faced stigmatization for being sexually promiscuous.^[2] The situations between the two figures of Mary Magdalene and Artemsia differ, however, because Mary Magdalene’s stigma derives from her background as a prostitute, while Gentileschi’s stigma stems from her rape trial in 1612.^[2][7] This interpretation is made due to the inscription, "Optimam partem elegit," (“you have chosen the best part”), which is interpreted as Gentileschi making the most of her assault by placing herself in Mary Magdalene's position.^[3] This interpretation could could be applied to her professional success though, rather than making the most of her assault.^[3]

In more recent scholarship academics such as Rebecca Mead have responded to the interpretation of Gentileschi’s painting through the lens of her sexual assault, and subsequent understanding of Gentileschi’s paintings as a channel for revenge, has been challenged.^[8] This perspective has been challenged because researchers want to view Gentileschi through multiple facets of her life; not just through her assault,^[8] but through her perspectives as a mother, as a successful business woman, and her “erotic passion”.^[8] Rather than see Gentileschi's paintings, such as the Penitent Magdalene, as a self portrait of Gentileschi for her similar features, one should view the Penitent Magdalene and think of the access Gentileschi had to source materials other than herself.^[8]

Artemisia Gentileschi was born and grew up in Rome in 1593, she is considered one of the most important painters of the Baroque and seventeenth century’s styles, being credited for surpassing her artist father, Orazio Gentileschi in talent.^[7][4] She may have met Caravaggio when she was a child, whose use of light and shadow she derived her style from.^[8] Their interactions likely occurred before 1606, because Caravaggio was acquaintances with Artemisia’s father, Orazio Gentileschi, and Caravaggio would flee Rome that same year.^[8] Though Gentileschi was not allowed to travel freely due to her gender and regard for her well-being, she had access to paintings by Caravaggio later in life through her local church, Santa Maria del Popolo, where she could view the Crucifixion of St. Peter and Conversion on the Way to Damascus.^[8] Because Artemesia did not create this form of rendering herself, she is considered an adopter of a style rather than a trend setter within the Baroque style.^[8]

• 
  Crucifixion of Saint Peter, Caravaggio
• 
  Conversion on the Way to Damascus, Caravaggio

From the years 1614 to 1620, Gentileschi went through her Florentine period: She became a member of the Accademia del Disegno in 1616.^[2][7] When in Florence, Gentileschi had begun using the last name "Lomi."^[9] The Penitent Magdalene was signed as “Artemisia Lomi,” rather than "Artemesia Gentileschi" because she was in Florence at the time.^[9] She may have chosen to use the name Lomi  over her actual last name, Gentileschi, and over her husband’s last name, Stiattesi, because Lomi was the last name of Aurelio Lomi, an artist who had more name recognition than either of her other options.^[9] In 1620, Gentileschi returned to the town where her father Orazio lived, Genoa, making her stay at the academy between the years 1616 and 1620, when the Penitent Magdalene was painted.^[7] A similar work was created by Artemisa in the years 1620-1622, Mary Magdalene in Ecstasy.^[5] Other works from Gentileschi's Florentine period include: Female Martyr, Saint Catherine of Alexandria, and the Jael and Sisera in the same period in which the Penitent Magdalen was created.^[3] The inclusion of women in workshops and academies was not common practice at this time.^[6] Despite this, and being illiterate, Gentileschi learned to read, and maintained correspondences with the like of Don Antonio Ruffo, Cassiano dal Pozzo, Duke Francesco I d’Este and Galileo Galilei.^[2][7] Her letters are mostly addressed to patrons of remarkable social standing, as she ran her own successful workshop.^[7]

• 
  Mary Magdalene in Ecstasy, Gentileschi
• 
  St Catherine of Alexandra, Gentileschi
• 
  Jael and Sisera, Gentileschi

The work was likely commissioned by the Grand Duchess Maria Maddalena, wife of Cosimo II de Medici.^[2] The patron likely ordered this scene specifically, for the similarities between Maddalena’s name and Magdalen, so the saint’s attributes of piety and penitence would be associated with her too.^[2] The luxuriousness of the women's clothing is thought to signal the artist's willingness to adapt her work to the tastes of her patrons.^[2] The painting is first mentioned as part of the Pitti Collection in 1826.^[3] The painting was restored in 1970 prior to an exhibition.^[3]

• Barker, Sheila, ed. Lives of Artemisia Gentileschi. Lives of the Artists. London: Los Angeles: Pallas Athene; J. Paul Getty Museum, 2021.
• Garrard, Mary D. Artemisia Gentileschi and Feminism in Early Modern Europe. Renaissance Lives. London, UK: Reaktion Books, 2020.
• Locker, Jesse. Artemisia Gentileschi: The Language of Painting. New Haven and London: Yale University Press, 2015.

Category:1610s paintings Category:Paintings by Artemisia Gentileschi Category:Paintings in the collection of the Galleria Palatina Category:Paintings depicting Mary Magdalene

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