Out of Lascaux

The Penitent Magdalen in Art

Mary Magdalen has always been a popular figure in western art. In the middle ages she was revered as the woman closest to Jesus. She washed his feet with her hair and was the first person to see him after he had arisen (see earlier post below). But as the centuries wore on, her association with "fallen women" grew more prominent, until she became the prostitute saved by the teachings of Jesus, which is not the same as being his confidant at all.

When she was saved, Mary Magdalen repented her life of sin. The Magdalen as penitent had songs and poems written about her. Her tears were considered sacred. Churches sprang up dedicated to her. Holy orders of former prostitutes - Magdalenes - existed in some cities. This was the Magdalen everyone knew. The companion and confidant of Christ was forgotten in the shadow of a more sensational figure.

There are two types of images of the Penitent Magdalen found in Renaissance and Baroque art. The first type was made popular by Titian, and really held sway above all others. This was the beautiful Magdalen, eyes tearfully lifted towards heaven, with an ample bosom only partially covered with her glorious main of chestnut hair.

Penitent Mary Magdalen
Titian Vecellio
1560's

Titian was followed by many others, including El Greco, Guercino, Vouet, and both Gentileschis. There is one word that describes these images better than "devotional," and that's "titillating." The Magdalen became an excuse to portray the female form without the inappropriateness of a common nude.

Guido Reni
1630's

But it wasn't just about showing naked women. The late 16th century was the time of the Reformation, when the Catholic church was losing the faithful to the new Protestant faiths right and left. The Counter-Reformation sought to bring them back any way they could, and one way was by selling sex along with piety. Dramatic, often scandalous images cropped up. Some of the first "shock" art appeared at this time, as artists experimented with new and dramatic ideas and images. While some found this new art offensive, most were drawn to the power of the imagery.

Paradoxically, another image of the Penitent Magdalen emerged, created by the most scandalous of artists, Caravaggio. While most of his images are dramatic and powerful, he went in a different direction with the Penitent Magdalen.

Caravaggio
1597

The Magdalen has been transformed from a half-naked prostitute to a quietly thoughtful rich woman who has thrown off her jewels and worldly goods. This Magdalen has just turned from her wicked ways and sits regretting her past. He's not selling sex here, only a quiet repentance.

This leads to my favorite painting of all time. Georges de La Tour painted a Magdalen that hangs in the Metropolitan Museum in New York.

Georges de La Tour
1638

The power in this one lies in the dramatic use of light and shadow, and the fact that you cannot see her face. She could be anyone. Any woman could comfortably put herself in the Magdalen's place as she contemplates death and the vanities of life. She's also so contemplative, so still she seems to be meditating. The figure even has a smooth, waxy sheen to the skin, as if she is a wax statue. This is a painting that I will sit in front of and feel relaxed and at peace. But perhaps that's just me.

La Tour was famous for his Magdalens. Another version is one in which he combined his rich, faceless woman with the more traditional penitent living in poverty. He painted several versions, one of which hangs in the County Mueseum of Art, Los Angeles.

Georges de La Tour
1640

The Magdalen in art was the Magdalen of the popular imagination. Whatever happened to be the prevalent view of her was the way she was portrayed, whether as devoted follower of Christ or repentant sinner. But somehow, she was never portrayed as being as close to Christ as some would claim today. Even in the 70's, the Magdalen in Jesus Christ Superstar sang about loving him, but there was never any deeper relationship implied. The idea of the Magdalen being the wife of Jesus, while not entirely new, has never been explored in art or culture. There was only one legend of the Magdalen coming to Marseilles with a daughter, and that is sketchy at best. Ultimately, the "woman" beside Jesus in the last supper is John, and always has been. The Magdalen was portrayed in her own way.

Posted by Alexandra at March 30, 2006 09:51 AM