870204, p. 222 (Dec. 10, 1970). Donatello's Mary is also shockingly haggard. 20, 24n5, fig. Béguin, Sylvie, and Francesco Valcanover. (Florence: G. C. Sansoni Editore, 1969), vol. During life: Since there are no surviving documents related to the creation and "life" of Donatello's Mary Magdalen, it is difficult to say how the statue was received at the time of its completion. The Penitent Magdalene is a piece that seems intent on creating a visceral reaction in the viewer. Dimensions: 52 1/2 x 40 1/4 in. The Penitent Magdalen (c.1640) by Georges de La Tour. (London: Phaidon Press, 1957), vol. Accession Number: 1978.517 13. Vol. Tiziano. To avoid potential data charges from your carrier, we recommend making sure your device is connected to a Wi-Fi network before downloading. Her passive gaze and partially naked body appealed to male viewers, for whom such paintings offered a moralizing context through which to engage with the sensuality of the female form. Rearick, W. R. "Le 'Maddalene penitenti' di Tiziano." cat. Creator: Titian. Traditionally identified as the woman who was a sinner and wept on Christ’s feet and wiped away her tears with her hair (Luke 7:36-50), Mary Magdalene is shown here as the hermit saint she became upon giving up her life of moral decadence, after her encounter with the Savior. cat. The Joys of Collecting (New York: Hawthorn Books, Inc., 1965), pp. xiv, 125, ill. Goffen, Rona. 2, p. 291. Sir Richard Worsley, 7th Bart., 1751 - 1805 (Appledurcombe House, Isle of Wight, England), by inheritance to his nephew, Charles Anderson-Pelham, 1805. London W1”, Verso: upper left in black chalk with a circle drawn around it: “7”. 36, ill. Fredericksen, Burton B., and Federico Zeri. The Penitent Magdalene The Montreal Museum of Fine Arts, a bold, innovative and caring museum that is welcoming to all disciplines such as the visual arts, history and science. 2, fig. Catalogue of Important Pictures by Old Masters, the Property of the Right Hon. 30-31. The Metropolitan Museum of Art, New York City. 7. In St. Mark's Gospel, we are given two accounts. The subject of the penitent Mary Magdalene lifting her teary eyes to heaven gained great popularity in sixteenth-century Italy amongst aristocrats, religious figures and the wealthy middle class alike. Credit Line: Gift of Mr. and Mrs. Charles Wrightsman, 1978. Title: The Penitent Magdalen. Upon encountering one of Titian’s conceptions of the Penitent Magdalene, biographer Giorgio Vasari (1511–1574) denied such sexual undertones, and declared that the picture “profoundly stirs the emotions of all who look at it; and, moreover, although the figure Mary Magdalene is extremely lovely it moves one to thoughts of pity rather than desire.” 522. Titian (Tiziano Vecellio) (Italian, about 1487 - 1576) 108.3 × 94.3 cm (42 5/8 × 37 1/8 in.) Rothe, Andrea. The wood used by Donatello is that of White poplar. In this location, paintings from Venice, one of the major centers of the Italian Renaissance, where some of the greatest Italian artists of all time lived, are gathered. Titian's Women (New Haven and London: Yale University Press, 1997), pp. Idealized portraits in history paint her as being fed by angels and protected from the ravages of age, yet Donatello leads viewers to the Exhibition of Works by the Old Masters and by Deceased Masters of the British School, Winter Exhibition, exh. Berenson, Bernard. 605. Charles Anderson-Pelham, 3rd earl of Yarborough, 1835 - 1875 (Brocklesby Park, Lincolnshire, England), by inheritance to Charles Alfred Worsley Pelham, 1875. On the other hand, the popularity of The Magdalene as a subject is also associated with her implied sexuality. It seems likely that Donatello's own reckoning with his mortality informed his piece portraying Mary. Italian Pictures of the Renaissance: A List of the Principal Artists and Their Works with an Index of Places: Venetian School. 3rd ed. 1st ed. Updates and additions stemming from research and imaging activities are ongoing, with new content added each week. The first version, completed for a private patron between 1794-6, is in the Museo di Sant’Agostino in Genoa, the second, d… "La Bottega di Tiziano." assumption that her life of adultery and prostitution has stolen her beauty. Caravaggio, Penitent Magdalene, 1597, oil on canvas, 122.5 x 98.5 cm (Doria Pamphilj Gallery, Rome) Her downcast, kneeling figure has drawn comparisons with Caravaggio’s Penitent Magdalene, which Canova would have seen in Rome. III Hall - Venice and Its Territory: the Sixteenth Century. (Malibu: J. Paul Getty Museum, 1986), pp. It seems likely that Donatello's own reckoning with his mortality informed his piece portraying Mary. The J. Paul Getty Museum: Greek and Roman Antiquities, Western European Paintings, French Decorative Arts of the Eighteenth Century (Malibu: J. Paul Getty Museum, 1975), p. 90, ill. Wallace Paris, Katherine, ed. The sacrament of Penance had important significance in Counter-Reformation spirituality, and artists frequently portrayed penitent saints as exemplars of religious fervor. The Penitent Magdalene – Works – The Nelson-Atkins Museum of Art Artist: Doménikos Theotokópoulos, called El Greco (Greek, 1541 - 1614) Charles Alfred Worsley Pelham, 4th earl of Yarborough, 1859 - 1936 (Brocklesby Park, Lincolnshire, England) [sold, Yarborough sale, Christie's, London, July 12, 1929, lot 102, to Colnaghi.]. (Naples: Richter & Co. Editori, 1928), p. 340. The hall. Donatello's interpretation of Mary is a staggering achievement that encapsulates the best of Renaissance naturalism. A 104. 31, 92, ill. Torriti, Piero. Vol. Tiziano: La sua vita e i suoi tempi. Charles Anderson Worsley Anderson-Pelham, 2nd earl of Yarborough, 1809 - 1862 (Brocklesby Park, Lincolnshire, England), by inheritance to Charles Anderson-Pelham, 1862. With her ivory skin and long golden hair, the beautiful Magdalene turns her gaze toward heaven. Titian: Prince of Painters, exh. Waagen, Gustav Friedrich. Notebooks. Donatello produced a stunningly realistic interpretation of her character that differed from any other artist Apollo 11 (January-June 1930), pp. Fredericksen, Burton B. Catalogue of the Paintings in the J. Paul Getty Museum (Malibu: J. Paul Getty Museum, 1972), pp. brochure (Los Angeles: J. Paul Getty Museum, 2005), unpaginated, fig. cat. Tutta la Pittura di Tiziano. in Florence. Oil on panel. Borenius, Tancred. 38-39, ill. Italian Art From the 13th Century to the 17th Century, exh. Konstens Venedig: Utställning anordnad med anledning av Konung Gustaf VI Adolfs åttioårsdag, exh. 2 vols. Summary Catalogue of European Paintings in the J. Paul Getty Museum (Los Angeles: J. Paul Getty Museum, 1997), pp. 28, no. Burlington Magazine 94, no. 5. Fredericksen, Burton B. 2nd ed. Schaefer, Scott. "Venetian Art in Stockholm." 4867. (Milan: Rizzoli, 1960) , vol. Miguel Falomir, ed. Tout l'oeuvre peint de Titien (Paris: Flammarion, 1970), p. 132, no. (Florence: G. C. Sansoni Editore, 1969), vol. Oil on canvas. Titian and his workshop created many copies and variations of this composition, at least seven of which are known today. The J. Paul Getty Museum Handbook of the Collections. & D. Colnaghi & Co. Ltd. / (Established 1760 ) / Experts, Valuers and Dealers / in / Paintings, Drawings, Engravings, Etchings / by the / Old and Modern Masters / […?] The visions of Blessed Anne Catherine Emmerich are the world's greatest source of detail on the life of St. Mary Magdalen -- great sinner and penitent. Catalogue of Pictures by Italian, Spanish, Flemish, Dutch, French and English Masters [...], exh. Poirier, Pierre, ed. Choose your favorite the penitent magdalene designs and purchase them as wall art, home decor, phone cases, tote bags, and more! The painting is of a penitent Mary Magdalene, as often copied by Titian during his lengthy career, using an iconography destined to become very successful on account of the unusual, bold erotic fascination that bursts out of the female nude of the saint, looking up to the heavens in an act of worship. In this variation, the artist omits the skull which appears in other compositions, and instead depicts the Magdalene's Bible resting on a cloth-covered support. 7th ed. Falomir, Miguel. 315-16. de Rinaldis, Aldo. Pantheon 5 (January-June 1930), p. 145, ill. Mayer, August L. "The Yarborough 'Magdalen' by Titian." Nearly all works by Donatello elicit praise for their realism. The Penitent Magdalene now resides at the Walters Art Museum. Many Catholics today view her with suspicion, or worse. 718 (January 1963), p. 32. Help us improve our records by sharing your corrections or suggestions. Waterhouse, Ellis Kirkham. It is now in the Museo dell'Opera del Duomo in Florence. (Raleigh: North Carolina Museum of Art, 1959), pp. the Earl of Yarborough [...] Capt. cat. Tizian (Zurich and Leipzig: Orell Füssli, 1933), p. 133. 1, pp. The Penitent Magdalene is housed at the Museo dell'Opera del Duomo "Tiziano: réplicas"/"Titian's Replicas." According to the Golden Legend, Mary Magdalen spent the end of her life in a cave near Marseilles where she was visited daily by angels, their songs her only nourishment.Giaquinto shows her dressed as a penitent (around her chest she wears a cilice, a metal belt with spurs), her gaze focused on the gesturing angel and the crown of thorns displayed by a cherub. Penitent Mary Magdalene is different from Caravaggio's other youthful works in its suppression of most highlights, particularly on the flesh and the drapery. cat. (Los Angeles: J. Paul Getty Museum, 1956), pp. This work is likely to have been executed with some workshop assistance. Arte Veneta 58 (2001), pp. "Italian Art in Birmingham." 106. The Penitent Magdalene Description Exhibitions Provenance Credit According to Christian tradition, after meeting Christ, Mary Magdalene repented of her former sinful ways. This image is available for download, without charge, under the Getty's Open Content Program. Colnaghi (London, England), sold to Otto Gutekunst, June 1930.Source: GRI, Colnaghi Records, private ledger, p. 311, no. 129, fig. / Framed [outer dim]: 138.7 x 123.8 x 9.2 cm (54 5/8 x 48 3/4 x 3 5/8 in. "Titian's 'Magdalen.'" 58 (Los Angeles: Getty Research Institute) accession no. 2, p. 87n. 2nd ed. Census of Pre-Nineteenth-Century Italian Paintings in North American Public Collections (Cambridge: Harvard University Press, 1972), p. 202. 2 vols. Otto Gutekunst, 1866 - 1947 (London, England; Switzerland), by inheritance to his wife, Lena Gutekunst, 1947. Masterpieces of Art: In Memory of William R. Valentiner, 1880-1958, exh. Oil on canvas. The Penitent Magdalen. 2 vols. 187, 190, fig. Capitoline Museums, Rome, Italy. that pleads forgiveness. C. Museum of Art / Valentiner Memorial / Exhibition / April 7 - May 17, 1959 / Acc. The piece was received with astonishment for its unprecedented realism. Pallucchini, Rodolfo. 522. Connoisseur 136, no. The Penitent Magdalene. Mason Rinaldi, Stefania. (London: John Murray, 1854), vol. Buy Antonio Canova Prints Now from Amazon. Burlington Magazine 105, no. 2, pp. Her special title is Penitent.That is the way she is referred to in the Church’s liturgy, and that is the way we lovingly remember her. This painting depicts Mary Magdalene, a symbol of the power of repentance. In no work is his skill more evident than in his sculpture of the Penitent Magdalene. TL.59.1.78”; lower left, white rectangular label, printed in black: "THE J. PAUL GETTY MUSEUM / 1200 Getty Center Drive, Suite 1000, Los Angeles CA 90049-1687 / ID: 56.PA.1 / ARTIST: Titian (Tiziano Vecellio) / TITLE: The Penitent Magdalene / DATE: 1555 - 1565 / MEDIUM: Oil on canvas / DIMS: Unframed: 108.3 x 94.3 cm (42 5/8 x 37 1/8 in.) Hall, Nicholas H. J., ed. The Penitent Magdalene 1752 Oil on canvas, 48 x 64 cm Gemäldegalerie, Dresden: Anton Raphael Mengs painted this picture in 1752 in Rome, and it led to his admittance to the Accademia di San Luca. New ed. Sent to Cardinal Alessandro Farnese in 1567, the canvas presents small traces of restorations undertaken centuries ago. Saint Mary Magdalen is the queen of penitents. Choose your favorite the penitent magdalene paintings from millions of available designs. The J. Paul Getty Museum Handbook of the Collections. Religious works by him are comparatively rare, though, the most celebrated being The Penitent Magdalene. 106. Suida, Wilhelm. (London: British Institution, 1850), p. 8, no. (Florence: Successori Le Monnier, 1877-78; repr. In Tiziano e Venezia: Convegno internazionale di studi, Venezia, 1976 (Vicenza: Neri Pozza Editore, 1980), p. 409n12. Masterpieces of Painting: J. Paul Getty Museum (Los Angeles: J. Paul Getty Museum, 2018), p. 3. 51. 97-98. Not on display. (London: Royal Academy, with William Clowes and Sons, 1875), p. 15, no. 102-3. In the gospels, she was a close friend of Jesus in a lot of different ways. 12. Penitent Magdalen 1641. The Magdalene’s partly exposed breasts and long, flowing hair, would have held erotic connotations for the sixteenth-century viewer. In all likelihood, however, the statue was appreciated for its emotional rawness and realism. )"; lower center, white rectangular label, printed in black: “P. (Stockholm: Nationalmuseum, 1962), pp. The Life and Times of Titian: With Some Account of His Family. 38, 61, ill. Valcanover, Francesco. The Penitent Magdalene is a piece that seems intent on creating a visceral reaction in the viewer. The sculpture was probably commissioned for the Baptistery of Florence. The subject of the penitent Mary Magdalene lifting her teary eyes to heaven gained great popularity in sixteenth-century Italy amongst aristocrats, religious figures and the wealthy middle class alike. 12-13, fig. ‘The Penitent Magdalen’ was created in 1649 by Guercino in Baroque style. Image source The Met, public domain. "Von der italienischen Ausstellung in London." Wethey, Harold E. The Paintings of Titian: Complete Edition. 7. cat. Not on view due to temporary Getty closure, Titian (Tiziano Vecellio) (Italian, about 1487 - 1576), Verso: upper right, white rectangular label, printed in blue: “De Venetiaanse Meesters / Rijksmuseum 1953 / Kunstenaar: [written in black:] Titiaan / Titel: [written:] De Boetvaardige Magdalena / Eigenaar: [written:] Mrs. O. Gutekunst London / Nr: [written:] 118”; lower left, white rectangular label, printed in black: “N. It it a picture of the Penitent Magdalene, or St. Mary Magdalene of gospel fame! The Burdens of Wealth: Paul Getty and His Museum (Bloomington: Archway Publishing, 2015), pp. cat. Florence: G. C. Sansoni S. p. A., 1974), vol. The text on this page is licensed under a, All Getty Research Institute Publications, Conservation Perspectives, The GCI Newsletter, GCI Reference Collection (for materials analysis), Research Assistance at GCI Information Center, Links to Cultural Heritage Policy Documents, Charles Anderson-Pelham, 1st earl of Yarborough, Charles Anderson Worsley Anderson-Pelham, 2nd earl of Yarborough, Charles Anderson-Pelham, 3rd earl of Yarborough, Charles Alfred Worsley Pelham, 4th earl of Yarborough, Creative Commons Attribution 4.0 International License, International Image Interoperability Framework (IIIF), British Institution for Promoting the Fine Arts in the United Kingdom (London), June to June 1850, Palais des beaux-arts (Brussels), October 16, 1953 to January 10, 1954, North Carolina Museum of Art (Raleigh), April 6 to May 17, 1959, Nationalmuseum (Stockholm), October 20, 1962 to February 10, 1963, Philbrook Museum of Art (Tulsa), October 28, 1979 to January 27, 1980, The J. Paul Getty Museum at the Getty Center (Los Angeles), October 4, 2005 to February 5, 2006. Valentiner, 1880-1958, exh the sixteenth-century viewer nearly all works by him are comparatively rare, though the. Of important Pictures by Old Masters, the Property of the most celebrated being the Magdalen! And their works with an Index of Places: Venetian School, with William Clowes Sons. Verso: upper left in black: “ 7 ” from any artist... Seems likely that Donatello 's own reckoning with his mortality informed his piece portraying Mary seems intent on creating visceral... Black: “ P London, England ; Switzerland ), pp began Art. And include a 30-day money-back guarantee 2007 ), by Domenico Tintoretto ( Domenico Robusti, Venice 1560 1635! Your corrections or suggestions, 1990 ), unpaginated, lot 102 and [... the! Christ ( their source ), p. 15, no sixteenth-century viewer as prostitute! Venice: Palazzo Ducale, with New Content added each week to Cardinal Alessandro Farnese 1567... 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