Louis Jean Francois Lagrenee (French, 1725–1805)
Detail; The penitent Madeleine
Oil on canvas
47 x 39 cm. (18.5 x 15.4 in.)
Private collection
Louis Jean Francois Lagrenee (French, 1725–1805)
The penitent Madeleine
Oil on canvas
47 x 39 cm. (18.5 x 15.4 in.)
Private collection
Sold for 16,250 EUR in March 2015
Mary Magdalene, literally translated as Mary the Magdalene or Mary of Magdala, is a figure in Christianity who, according to the Bible, traveled with Jesus as one of his followers. She is said to have witnessed Jesus' crucifixion and resurrection. Within the four Gospels she is named more than most of the apostles. Based on texts of the early Christian era in the third century, it seems that her status as an “apostle" rivals even Peter's.
The Gospel of Luke says seven demons had gone out of her. She is most prominent in the narrative of the crucifixion of Jesus, at which she was present. She was also present two days later when, she was, either alone or as a member of a group of women, the first to testify to the resurrection of Jesus. John 20 and Mark 16:9 specifically name her as the first person to see Jesus after his resurrection.
During the Middle Ages, Mary Magdalene was regarded in Western Christianity as a repentant prostitute or promiscuous woman, claims not found in any of the four canonical gospels. More Mary Magdalene
Louis-Jean-François Lagrenée (30 December 1724 - 19 June 1805) won the Prix de Rome in 1749 and spent 1750-54 at the Académie de France in Rome. On his return he was appointed a professor of the Académie Royale in Paris. From 1781 to 1785 he was Director of the Académie de France in Rome and the following year was made Recteur of the Académie Royale. Despite his service to the ancien règime, Lagrenée survived the upheavals of the French Revolution and crowned his career by being appointed a curator of the new national museums under Napoleon.
Lagrenée painted historical, mythological and religious works. He combined a slightly sentimental approach to his New Testament subject matter with a classicising style.
Like Joseph-Marie Vien and Jean-Baptiste Greuze, he turned away from mid-century rococo towards an early neoclassical manner characterised by cool colours, smooth technique and simple, refined composition. Lagrenée won important patrons both in France and abroad.
Lagrenée’s own manuscript, Livre de raison (Bibliothèque Doucet, University of Paris, gives an unusually detailed list of his paintings and patrons. He died in Paris in 1805. His brother Jean-Jacques Lagrenée (1739-1821), a history painter who became artistic director of the Manufacture de Sèvres, was his pupil.
The work of Louis-Jean-François Lagrenée is represented in the Louvre, Paris; the Petit Trianon, Versailles; the Château of Fontainebleau; the Hôtel de Ville, Dijon; Stourhead, Wiltshire and the Staatliche Kunsthalle, Karlsruhe. More on Louis-Jean-François Lagrenée
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