01 Work, Interpretation of the bible, Donato Creti's The Penitent Magdalene, with Footnotes - #211

Donato Creti

 "The Penitent Magdalene" 

Oil on canvas

Size: 24” inches wide by 29” inches high 

I have no further description, at this time

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

Donato Creti (24 February 1671 – 31 January 1749) was an Italian painter of the Rococo period, active mostly in Bologna.

Born in Cremona, he moved to Bologna, where he was a pupil of Lorenzo Pasinelli. He is described by Wittkower as the "Bolognese Marco Benefial", in that his style was less decorative and edged into a more formal neoclassical style. It is an academicized grand style, that crystallizes into a manneristic neoclassicism, with crisp and frigid modeling of the figures. Among his followers were Aureliano Milani, Francesco Monti, and Ercole Graziani the Younger. Two other pupils were Domenico Maria Fratta and Giuseppe Peroni. More on Donato Creti

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01 Work, Interpretation of the bible, Bartholomeus Douven's Penitent Magdalene, with Footnotes #208

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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01 Work, Interpretation of the bible, Giovanni Battista Pittoni's The Penitent Magdalene, with Footnotes #210

Giovanni Battista Pittoni

The Penitent Magdalene, c. 1740

Oil on canvas

48 x 38 cm

Gallerie dell'Accademia, Venice

The dark setting of the scene describes the cave where the saint decides to retire in prayer, mortifying her body with fasting. The kneeling figure with her face in profile is rendered through bold brushstrokes that become increasingly rapid near the outer edges of the painting, giving a sense of whirling motion to the entire composition. The dynamism blends with a pathetic character, recurrent in the artist's sacred production, here emphasized by the left hand that the saint clasps to her chest. The iconographic attributes left in shadow in the lower part of the painting such as the skull, the balsam and the scourge are linked to the ascetic phase of penance; the halo, the only source of light inside the painting, highlights the loose blonde hair on the back and reveals the clarity of the robust female complexion. From the chromatic point of view, Pittoni juxtaposes the blue tunic and the purple drape with the earthy colors of the background where three cherubs in flight complete the composition. 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

Giambattista Pittoni or Giovanni Battista Pittoni (6 June 1687 - 6 November 1767) was a Venetian painter of the late Baroque or Rococo period. He was among the founders of the Academy of Fine Arts of Venice , of which in 1758 he became the second president, succeeding Tiepolo.

Pittoni studied under his uncle Francesco Pittoni, a well-known but undistinguished painter of the Venetian Baroque. 

Pittoni joined the Fraglia of the Venetian Painters, the Venetian guild of painters, in 1716. From, probably, the same year until his death he was a member of the College of Painters, of which he became prior in 1729.  He was elected to the Clementine Academy of Bologna in 1727. In 1750 he was one of the forty-six members of the Veneta Publish Academy of Painting, Sculpture and Architecture, which later became the Academy of Fine Arts of Venice ; from 1758 to 1760 he succeeded Tiepoloas president of the academy, and was elected for a second term in 1763–64. More on Giambattista Pittoni

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01 Work, Interpretation of the bible, Abraham Janssens I's Penitent Magdalene, with Footnotes #206

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

Please visit my other blogs: Art Collector, Mythology, Marine Art, Portrait of a Lady, The Orientalist, Art of the Nude and The Canals of Venice, Middle East Artists, 365 Saints, 365 Days, and Biblical Icons, also visit my Boards on Pinterest

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I don't own any of these images - credit is always given when due unless it is unknown to me. if I post your images without your permission, please tell me.

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01 Work, Interpretation of the bible, Caravaggio's The Penitent Magdalene, with Footnotes #202

Caravaggio

The Penitent Magdalene, c. 1594–1595

Oil on canvas

122.5 cm × 98.5 cm (48.2 in × 38.8 in)

Doria Pamphilj Gallery, Rome

Penitent Magdalene (also called Repentant Madalene) is a 16th-century oil on canvas. The painting portrays a repentant Mary Magdalene, bowed over in penitent sorrow as she leaves behind her dissolute life, its trappings abandoned beside her. At the time of its completion, ca. 1594–1595, the painting was unconventional for its contemporary realism and departure from traditional Magdalene iconography. It has invited both criticism and praise, with speculation even into the 21st century as to Caravaggio's intentions. The work hangs in the Doria Pamphilj Gallery in Rome. More on this painting

Mary of Magdala was a leading figure among those attracted to Jesus. When the men in that company abandoned him at the hour of mortal danger, Mary of Magdala was one of the women who stayed with him, even to the Crucifixion. She was present at the tomb, the first person to whom Jesus appeared after his resurrection and the first to preach the “Good News” of that miracle. These are among the few specific assertions made about Mary Magdalene in the Gospels. From other texts of the early Christian era, it seems that her status as an “apostle,” in the years after Jesus’ death, rivaled even that of Peter. This prominence derived from the intimacy of her relationship with Jesus, which, according to some accounts, had a physical aspect that included kissing. Beginning with the threads of these few statements in the earliest Christian records, dating to the first through third centuries, an elaborate tapestry was woven, leading to a portrait of St. Mary Magdalene in which the most consequential note—that she was a repentant prostitute—is almost certainly untrue. On that false note hangs the dual use to which her legend has been put ever since: discrediting sexuality in general and disempowering women in particular. More on Mary of Magdala. More on The Magdalene

Michelangelo Merisi da Caravaggio (29 September 1571 in Caravaggio – 18 July 1610) was an Italian painter active in Rome, Naples, Malta, and Sicily between 1592 and 1610. His paintings, which combine a realistic observation of the human state, both physical and emotional, with a dramatic use of lighting, had a formative influence on Baroque painting.

Caravaggio trained as a painter in Milan under Simone Peterzano who had himself trained under Titian. In his twenties Caravaggio moved to Rome where there was a demand for paintings to fill the many huge new churches and palazzos being built at the time. It was also a period when the Church was searching for a stylistic alternative to Mannerism in religious. Caravaggio's innovation was a radical naturalism that combined close physical observation with a dramatic use of chiaroscuro which came to be known as tenebrism (the shift from light to dark with little intermediate value).

He gained attention in the art scene of Rome in 1600 with the success of his first public commissions, the Martyrdom of Saint Matthew and Calling of Saint Matthew. Thereafter he never lacked commissions or patrons, yet he handled his success poorly. He was jailed on several occasions, vandalized his own apartment, and ultimately had a death sentence pronounced against him by the Pope after killing a young man, possibly unintentionally, on May 29, 1606. He fled from Rome with a price on his head. He was involved in a brawl in Malta in 1608, and another in Naples in 1609. This encounter left him severely injured. A year later, at the age of 38, he died under mysterious circumstances in Porto Ercole in Tuscany, reportedly from a fever while on his way to Rome to receive a pardon.

Famous while he lived, Caravaggio was forgotten almost immediately after his death, and it was only in the 20th century that his importance to the development of Western art was rediscovered. More on Caravaggio

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I don't own any of these images - credit is always given when due unless it is unknown to me. if I post your images without your permission, please tell me.

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01 Work, Interpretation of the bible, Friedrich Sturm's The Penitent Magdalene, with Footnotes #203

Friedrich Sturm

The Penitent Magdalene

Porcelain, wood

89.5cm x 64cm

Private collection

Sold for 2,000 GBP in November 2017 

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

Friedrich Sturm, also Fritz Sturm (1823–1898) was an Austrian artist known for his decorative art and paintings of animals and flowers.

Sturm was born in Vienna. He started out as a student of his father, who was a porcelain and enamel painter, and then attended the Academy of Fine Arts, Vienna. He then went on a study trip to Serbia and Hungary, where he worked as a theatre artist, portrait painter and painter of church art. He turned to fresco painting and specialized as a flower and animal artist. He decorated numerous Viennese buildings with wall and ceiling paintings, and he also painted on silk for the salon of the Empress of Austria. From 1853 to 1859 he sent his pictures to the monthly exhibitions of the Austrian Art Association. With the opening of the Museum of Art and Industry in Vienna in 1868 he became a professor at the associated School of Applied Arts, now the University of Applied Arts, and headed its department of plant, animal and ornament art until 1892. Women were also allowed to take part in his flower painting classes. From 1881 to 1889 he was director of the facility. He was retired due to illness in 1892. He died on 1 November 1898 in Weissenbach an der Triesting. More on Friedrich Sturm

Please visit my other blogs: Art Collector, Mythology, Marine Art, Portrait of a Lady, The Orientalist, Art of the Nude and The Canals of Venice, Middle East Artists, 365 Saints, 365 Days, and Biblical Icons, also visit my Boards on Pinterest

Images are copyright of their respective owners, assignees or others. Some Images may be subject to copyright

I don't own any of these images - credit is always given when due unless it is unknown to me. if I post your images without your permission, please tell me.

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01 Work, RELIGIOUS ART - Simone Pignoni's Penitent Magdalene, With Footnotes - #131

Workshop of Simone Pignoni, Florence 1611 – 1698

Penitent Magdalene

Oil on canvas

26⅛ by 19¼ in.; 66.2 by 48.7 cm.

Private collection

Sold  for 6,930 USD in May 2022

This half-length Mary Magdalene depicted as a voluptuous female nude is characteristic of the seventeenth-century Florentine painter Simone Pignoni and artists in his orbit. The Saint’s windswept locks and swirling red drapery heighten the composition’s sense of drama and imbue the image with an effect of swift, graceful movement. This work was likely made by a member of Pignoni’s workshop. More on this painting

Penitent Magdalen refers to a post-biblical period in the life of Mary Magdalen.

The sacrament of Penance had important significance in Counter-Reformation spirituality, and artists frequently portrayed penitent saints as exemplars of religious fervor. Such works were meant to inspire a greater devotion. On the other hand, the popularity of The Magdalene as a subject is also associated with her implied sexuality. 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. The Penitent Magdalene

Simone Pignoni (April 17, 1611 – December 16, 1698) was an Italian painter of the Baroque period. He is best known for painting in a style reminiscent of the morbidly sensual Furini. Reflective of this obsession is his self-portrait, c. 1650, in which he depicts himself building up a plump naked female from a skeleton. The biographer Baldinucci, in what little he notes of the painter, recalls him as the scandalous "imitator of (Furini's) licentious inventions".

Among his more conventional works are a St. Agatha cured by St. Peter (attributed) in the Museo Civico di Trieste; a St. Louis providing a banquet for the poor (c. 1682) now in the church of Santa Felicita in Florence, commissioned by Conte Luigi Gucciardini; and a Madonna and child in glory with archangels Saints Michael and Raphael in battle armor and San Antonio of Padua (1671) for the Cappella di San Michele in Santissima Annunziata. He painted an Allegory of Peace in Palazzo Vecchio. A Penitent Magdalen that has been attributed to Pignoni is found in the Pitti Palace. In San Bartolomeo in Monteoliveto, he painted a Madonna appearing to Blessed Bernardo Tolomeo. More Simone Pignoni

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Images are copyright of their respective owners, assignees or others. Some Images may be subject to copyright

I don't own any of these images - credit is always given when due unless it is unknown to me. if I post your images without your permission, please tell me.

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01 Work, RELIGIOUS ART - Interpretation the bible, Edouard Kasparides' The penitent Mary Magdalene in the cave, with Footnotes - 127

Edouard Kasparides, (1858-1926 Austrian)

Detail; The penitent Mary Magdalene in the cave, c. 1890

Oil on canvas

45.5" H x 67" W

Private collection

Edouard Kasparides, (1858-1926 Austrian)

The penitent Mary Magdalene in the cave, c. 1890

Oil on canvas

45.5" H x 67" W

Private collection

The penitent Mary Magdalene was a sinner, perhaps a courtesan, Mary Magdalen was a witness of Christ who renounced the pleasures of the flesh for a life of penance and contemplation. Penitent Magdalene or Penitent Magdalen refers to a post-biblical period in the life of Mary Magdalene, according to medieval legend. 

According to the tenets of the 17th–century Catholic church, Mary Magdalene was an example of the repentant sinner and consequently a symbol of the Sacrament of Penance. According to legend, Mary led a dissolute life until her sister Martha persuaded her to listen to Jesus Christ. She became one of Christ's most devoted followers and he absolved her of her former sins. More on The Penitent Magdalen

The sacrament of Penance had important significance in Counter-Reformation spirituality, and artists frequently portrayed penitent saints as exemplars of religious fervor. Such works were meant to inspire a greater devotion. On the other hand, the popularity of The Magdalene as a subject is also associated with her implied sexuality. 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. The Penitent Magdalene

Eduard Kasparides  (Krönau 1858 - 1926 Bad Gleichenberg) was born in Moravia in the eastern part of the Czech Repubic. In 1876 he moved to Vienna to study at the Academy of Fine Arts. His teachers were Christian Griepenkerl and Josef Mathias von Trenkwald.  In 1884 he finished his studies and moved to Munich one year later, he came back to Vienna in 1886. He made several study trips during his career and traveled through Italy, Germany, Sweden and Russia.

At the begin of his career Eduard Kasparides painted mainly conversation pieces and historical paintings with religious motives. But from 1899 he found his individual style and focussed on impressionistic evening-landscapes with a strong atmospheric effect. He became a member of the Vienna Künstlerhaus in 1894 and was a co-founder of the artist group Hagenbund in 1900.

Eduard Kasparides was awarded several times, he got the Baron Königswarter-Künstlerpreis in 1899, the Mention honorable at the world exhibition in Paris in 1900 and the Kleine Goldene Staatsmedaille in Vienna, the Erzherzog Carl Ludwig Medaille in 1908, the Drasche Preis in 1911 and the Große Goldene Staatsmedaille in 1912. Eduard Kasparides died in 1926 in Styria. More on Eduard Kasparides

Please visit my other blogs: Art Collector, Mythology, Marine Art, Portrait of a Lady, The Orientalist, Art of the Nude and The Canals of Venice, Middle East Artists, 365 Saints and 365 Days, also visit my Boards on Pinterest

Images are copyright of their respective owners, assignees or others. Some Images may be subject to copyright

I don't own any of these images - credit is always given when due unless it is unknown to me. if I post your images without your permission, please tell me.

I do not sell art, art prints, framed posters or reproductions. Ads are shown only to compensate the hosting expenses.

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Thank you for visiting my blog and also for liking its posts and pages.

Please note that the content of this post primarily consists of articles available from Wikipedia or other free sources online.

01 Work, Artist's Interpretation the bible, With Footnotes - 125

Attributed to Jusepe de Ribera

The Penitent Magdalene 

Oil on canvas 

49 3/8 x 39 1/2 inches (125.4 x 100.3 cm)

Private collection

A sinner, perhaps a courtesan, Mary Magdalen was a witness of Christ who renounced the pleasures of the flesh for a life of penance and contemplation. Penitent Magdalene or Penitent Magdalen refers to a post-biblical period in the life of Mary Magdalene, according to medieval legend. 

According to the tenets of the 17th–century Catholic church, Mary Magdalene was an example of the repentant sinner and consequently a symbol of the Sacrament of Penance. According to legend, Mary led a dissolute life until her sister Martha persuaded her to listen to Jesus Christ. She became one of Christ's most devoted followers and he absolved her of her former sins. More on The Penitent Magdalen 

Penitent Magdalen refers to a post-biblical period in the life of Mary Magdalen.

The sacrament of Penance had important significance in Counter-Reformation spirituality, and artists frequently portrayed penitent saints as exemplars of religious fervor. Such works were meant to inspire a greater devotion. On the other hand, the popularity of The Magdalene as a subject is also associated with her implied sexuality. 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. The Penitent Magdalene

José de Ribera (January 12, 1591 – September 2, 1652) was a Spanish Tenebrist painter and printmaker, better known as Jusepe de Ribera. He also was called Lo Spagnoletto ("the Little Spaniard") by his contemporaries and early writers. Ribera was a leading painter of the Spanish school, although his mature work was all done in Italy. More on José de Ribera

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