Mary Magdalene is a 1616–1618 painting by the Italian baroque artist Artemisia Gentileschi. It hangs in the Pitti Palace in Florence.[1]
17th century painting
Mary Magdalene, Artemisia Gentileschi, 1616–1618, Pitti Palace, Florence
Description
The figure is portrayed in a gown of yellow silk, pushing away a mirror (a symbol of vanity) inscribed with the words Optimam partem elegit (“you have chosen the best part”).[2] 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] The work is signed "Artimisia 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 (which includes the chair upon which the signature is found) a possible later addition. [3]
Interpretation
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. [4] 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.[4]
History
The work was likely commissioned by the Grand Duchess Maria Maddalena, wife of Cosimo II de Medici.[4] 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]
References
Christiansen, Keith; Mann, Judith Walker (2001-01-01). Orazio and Artemisia Gentileschi. New York; New Haven: Metropolitan Museum of Art; Yale University Press. ISBN1588390063.
"S. M. Magdalen". Le Gallerie degli Uffizi. Retrieved 16 June 2020.
Bissell, R. Ward (1999). Artemisia Gentileschi and the authority of art: critical reading and catalogue raisonné. University Park, Pa.: Pennsylvania State University Press. ISBN0271017872.
Garrard, Mary D. (2001). Artemisia Gentileschi around 1622: the shaping and reshaping of an artistic identity. Berkeley: University of California Press. ISBN0520228413.
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