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Mary Magdalen in Ecstasy (1606) is a painting by the Italian baroque artist Michelangelo Merisi da Caravaggio (1571-1610). What is believed to be the authentic version of the painting was discovered in a private collection in 2014; [1] the painting was previously only known to art historians through a number of copies made by followers of the artist.
The painting represents a departure from the standard paintings of the penitent Mary Magdalene of Caravaggio's day, both in portraying her in contemporary clothing and, in the words of biographer John Varriano (2006), avoiding "the pathos and languid sensuality" with which the subject was generally treated. [3]
Martha and Mary Magdalene (c. 1598) is a painting by the Italian Baroque master Michelangelo Merisi da Caravaggio. It is in the Detroit Institute of Arts. Alternate titles include Martha Reproving Mary, The Conversion of the Magdalene, and the Alzaga Caravaggio.
Caravaggio's innovations inspired Baroque painting, but the latter incorporated the drama of his chiaroscuro without the psychological realism. [dubious – discuss] The style evolved and fashions changed, and Caravaggio fell out of favour. In the 20th century, interest in his work revived, and his importance to the development of Western art ...
Caravaggio's first paintings on religious themes returned to realism and the emergence of remarkable spirituality. The first of these was the Penitent Magdalene, showing Mary Magdalene at the moment when she has turned from her life as a courtesan and sits weeping on the floor, her jewels scattered around her. "It seemed not a religious ...
Mary Magdalene (Perugino) Pazzi Crucifixion; Pietà (Titian) Pietà (Bramantino) Pietà (Bronzino, 1529) Pietà (Perugino) Pietà (Ribera, Madrid) Pietà (Ribera, Naples) Pietà (Stanzione) Pietà with Saint Francis and Saint Mary Magdalene; Pietà with Saints Clare, Francis and Mary Magdalene; Pieve di Sant'Andrea (Cercina)
They both show more of Mary Magdalene's flesh and shoulder than versions by other artists, suggesting an erotic charge to the devotional scene. [1] Other symbols that were typically used to demonstrate her repentance—skull, candle, ointment jar—are absent, leading art historians to focus on the more sensual feel of the painting in their ...
Both paintings now belong to MONA. Fillide figured prominently in Caravaggio's work in the closing years of the 1590s, appearing as Saint Catherine, as Mary in Martha and Mary Magdalene, and as Judith in Judith Beheading Holofernes. She may have appeared even more frequently - a considerable number of Caravaggio's works are now lost - but she ...