Abraham Janssens I (1575–1632)
Penitent Magdalene, between 1575 and 1632
Oil on canvas
height: 123 cm (48.4 in); width: 94.5 cm (37.2 in)
Bavarian State Painting Collections, Schleißheim State Gallery
One of a series of half-length, figural compositions undertaken by Abraham Janssens in the 1620s, this painting of the Penitent Magdalen was intended for a private patron. Its owner would have savored the visual opulence of the pensive saint surrounded by jewels, silks, fruit, and a golden ointment jar, while also understanding the somber skull and crucifix as emblems of death and redemption. Janssens painted it during the Counter-Reformation, a period when the Catholic Church strongly encouraged penitence as the route to salvation. Traditionally described as a prostitute who became a devoted disciple of Christ, Mary Magdalen embodied notions of repentance and redemption. To this day, she remains a complex and mutable symbol of women and their place in the Church. More on this painting
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
Abraham Janssens I, Abraham Janssen I or Abraham Janssens van Nuyssen (1575–1632) was a Flemish painter, who is known principally for his large religious and mythological works, which show the influence of Caravaggio. He was the leading history painter in Flanders prior to the return of Rubens from Italy.
Abraham Janssens was born in Antwerp as the son of Jan Janssens and Roelofken van Huysen or Nuyssen. There is some uncertainty regarding his year of birth. He was previously thought to have been born in the year 1567, but it is now more generally assumed that his date of birth was 1575.
Janssens studied under Jan Snellinck and was registered as a pupil in the local Guild of Saint Luke in 1585. He travelled to Italy where he resided mainly in Rome between 1597 and 1602. After returning to his home country he became a master in the Antwerp Guild in the guild year 1601-1602.
In 1607 he became the dean of the Antwerp Guild of St Luke. This is also the time when he received his first major commissions, which initiated the most important period of his career. Until the return of Rubens to Antwerp in 1608, Janssens was considered perhaps the best history painter of his time. After Rubens became the dominant force for large altarpieces in the Antwerp market, Janssens had to find commissions for large monumental works from provincial patrons.
Janssens joined in 1610 the Confrerie of Romanists, a society of Antwerp humanists and artists who had travelled to Rome. The diversity and high positions held by the Confrerie's membership offered him a good opportunity to meet with potential patrons.
More on Abraham Janssens the Elder
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