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Mary Magdalen in Ecstasy (1606) is a painting by the Italian baroque artist Michelangelo Merisi da Caravaggio (1571-1610). What is believed to be the authentic version of the painting was discovered in a private collection in 2014;[1] the painting was previously only known to art historians through a number of copies made by followers of the artist.[2] If the painting is, in fact, authentic, it would be valued at over £20 million ($32.3 million).[citation needed]

Mary Magdalen in Ecstasy
Italian: Maddalena in estasi
ArtistCaravaggio
Year1606 (1606)
Mediumoil on canvas
Dimensions103.5 cm × 91.5 cm (40.75 in × 36 in)
LocationPrivate Collection

It is widely accepted that Caravaggio painted the work in 1606 while in hiding at the estates of the Colonna family after fleeing Rome following the killing of Ranuccio Tommason.[3][4]


Subject


According to a legend popular in Caravaggio's time, after Christ's death his faithful female disciple Mary of Magdala moved to southern France, where she lived as a hermit in a cave at Sainte-Baume near Aix-en-Provence. There she was transported seven times a day by angels into the presence of God, "where she heard, with her bodily ears, the delightful harmonies of the celestial choirs." Earlier artists had depicted Mary ascending into the divine presence through multicoloured clouds accompanied by angels; Caravaggio made the supernatural an entirely interior experience, with the Magdalen alone against a featureless dark background, caught in a ray of intense light, her head lolling back and eyes stained with tears.[5] This revolutionary naturalistic interpretation of the legend also allowed him to capture the ambiguous parallel between mystical and erotic love, in Mary's semi-reclining posture and bared shoulder.[6] The painting was immensely influential for future treatment of the theme by artists such as Rubens and Simon Vouet (who adopted Carvaggio's earth-bound Magdalen but reintroduced the angels), and of Bernini's celebrated Ecstasy of St Theresa.[7]


See also



References


  1. "Long-lost Caravaggio painting goes on show in Tokyo". The Guardian. Associated Press. 2016-03-01. ISSN 0261-3077. Retrieved 2019-01-02.
  2. Vogt, Andrea (2014-10-24). "Caravaggio's original Mary Magdalene in Ecstasy 'discovered'". The Daily Telegraph. ISSN 0307-1235. Retrieved 2019-01-02.
  3. "The magdalen in ecstacy- by Caravaggio". Caravaggion and his 100 famous paintings. Retrieved 2019-01-02.
  4. Nayeri, Farah (2018-10-08). "In Paris, a Celebration of Caravaggio's Roman Days". The New York Times. ISSN 0362-4331. Retrieved 2019-01-02.
  5. Vogt, Andrea (2014-10-24). "Caravaggio's original Mary Magdalene in Ecstasy 'discovered'". The Daily Telegraph. ISSN 0307-1235. Retrieved 2019-01-02.
  6. Gash, John (2004). Caravaggio. Londres: Chaucer Press. Cited in Turvey, Victoria Elizabeth Sauron. Paradoxical Bodies: Femininity, subjectivity and the visual discourse of ecstasy. University of Leeds.
  7. Pacelli, Vincenzo (2006). L'iconografia della Maddalena a Napoli dall'età angioina al tempo di Caravaggio (in Italian). Electa Napoli. p. 28. ISBN 978-88-510-0355-5.



На других языках


- [en] Mary Magdalen in Ecstasy

[fr] Marie-Madeleine en extase

Marie-Madeleine en extase (en italien Maria Maddalena in estasi) est un tableau du Caravage peint en 1606 et conservé dans une collection privée à Rome.

[it] Maria Maddalena in estasi

Maria Maddalena in estasi, è un dipinto a olio su tela (106,5x92,5 cm) di Michelangelo Merisi da Caravaggio, databile attorno al 1606, anche se alcuni studiosi e storici dell'arte, propendono per il 1610. Attualmente è presente in più versioni,[1] alcune delle quali sono copie evidenti e firmate. Nella versione cosiddetta "Klain" (dal nome dei penultimi proprietari privati, nella foto accanto), fu identificata dal prof. Maurizio Marini (e poi notificata dal Ministero dei Beni Culturali), che collocò la sua esecuzione nel momento della fuga di Caravaggio da Roma, dopo l'uccisione di Ranuccio Tomassoni[2]. Secondo lo studioso, il quadro fu dipinto a Paliano, quando Caravaggio era ospite nei feudi dei Colonna, famiglia che aveva assicurato a Caravaggio la sua protezione. Ultimamente, i pareri sulla sua autenticità sono stati rafforzati da una serie di analisi non invasive, condotte fra il 2016 e il 2018 presso il fiorentino Opificio delle Pietre Dure dal prof. Roberto Bellucci.[3] I dettagli emersi dalle indagini assicurano dell'alta qualità della realizzazione, con elementi tecnici e stilistici tipici della manifattura caravaggesca: gli sbozzi eseguiti a biacca, alcune tracce di disegno utili a "fermare" la composizione, l'inserimento di uno sfondo paesaggistico da riferire all'ultimo stile del Caravaggio romano.[4]



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