Emiliana School of the seventeenth century
Magdalene
Oil on canvas
83x110 cm
I have no further description of this artwork at this time
Mary Magdalene as one of the women who traveled with Jesus and helped support his ministry "out of their resources", indicating that she was probably relatively wealthy. The same passage also states that seven demons had been driven out of her.
Master of the Aachen Altar
Crucifixion, between circa 1515 and circa 1520
Central panel
Oil on panel
Height: 143 cm (56.2 in); Width: 242 cm (95.2 in)
Aachen Cathedral Treasury
The painter stresses the passion scenes as a bloody ordeal through the use of red paint throughout the whole image. With the exception of Jesus, Mary and John, everyone is depicted in contemporary clothing in a local landscape. The biblical scenes are presented to the viewer, providing the opportunity for introspection. Furthermore, in the division of the centrepiece into a "good side" on the left of the crucifixion and a "bad side" on the right and in the direction of glances and gestures towards the viewer, the panel demands that the viewer make a personal choice between salvation and damnation. More on this painting
The
name Master of the
Aachen Altar is given to an
anonymous late gothic painter active in Cologne between 1495 and 1520 or 1480
and 1520, named for his master work, the Aachen Altar triptych owned by the
Aachen Cathedral Treasury. Along with the Master of St Severin and the Master
of the legend of St. Ursula he is part of a group of painters who were active
in Cologne at the beginning of the sixteenth century and were Cologne's last
significant practitioners of late gothic painting. More on Master of the Aachen Altar
Rogier van der Weyden, (1399/1400–1464)
The Descent from the Cross, circa 1435
Oil on oak panel
220 x 262 cm
Museo del Prado
Depicted people: Jesus Christ , Nicodemus, Joseph of Arimathea, Mary of Clopas, John the Evangelist, Salome, Mary Magdalene, Virgin Mary
Rogier van der Weyden, (1399/1400–1464)
The Descent from the Cross, circa 1435
Detail Mary Magdalene
Oil on oak panel
220 x 262 cm
Museo del Prado
Rogier van der Weyden (1399 or 1400 – 18
June 1464) was an Early Netherlandish painter. His surviving works consist
mainly of religious triptychs, altarpieces and commissioned single and diptych
portraits. He was highly successful and internationally famous in his lifetime;
his paintings were exported – or taken – to Italy and Spain, and he received
commissions from Netherlandish nobility and foreign princes. By the latter half
of the 15th century, he had eclipsed Jan van Eyck in popularity. However his
fame lasted only until the 17th century, and largely due to changing taste, he
was almost totally forgotten by the mid-18th century. His reputation was slowly
rebuilt during the following 200 years; today he is known, with Robert Campin
and van Eyck, as the third of the three great Early Flemish artists, and as the
most influential Northern painter of the 15th century. Karel van Mander wrote
that the great artistic contribution of Rogier van der Weyden lies in his
ideas, his composition and rendering of the soul's expression through pain,
happiness or anger, and the tempering of this emotional testimony to the
subject matter of his work.
Van der Weyden worked from life models, and his
observations were acute, yet he often idealised certain elements of his models'
facial features, and they are typically statuesque, especially in his
triptychs. All of his forms are rendered with rich, warm colourisation and a
sympathetic expression, while he is known for his expressive pathos and
naturalism. His portraits tend to be half length and half profile. Van der
Weyden used an unusually broad range of colours and varied tones; in his finest
work the same tone is not repeated in any other area of the canvas; even the
whites are varied. More on Rogier van der Weyden
Mary Magdalene is a witness to the crucifixion of Jesus and, she is also present at his burial. All four gospels identify her as the first to witness the empty tomb, and the first to witness Jesus's resurrection.
Greg Olsen
Forgiven
I have no further description of this artwork at this time
Greg Olsen's biblical paintings, represented in religious temples in more than 20 countries around the world, and his work for the Pentagon and the National Collegiate Athletic Association required intensive research and strict attention to factual detail. While these historical paintings satisfy his desire to render works with a sense of permanence, his whimsical paintings afford him the freedom to transfer his imagination to canvas.
Olsen's paintings are included in many corporate collections, including Mobil Corporation, Turner Broadcasting System, Westin Hotels, World Explorer Cruises, the American Cancer Society, the Pentagon, the U.S. Forest Service and the state of Idaho. More on Greg Olsen
Texts portray Mary Magdalene as an apostle, as Jesus's closest and most beloved disciple and the only one who truly understood his teachings. Mary Magdalene's closeness to Jesus results in tension with another disciple, particularly Peter due to her gender and Peter's jealousy of special teachings given to her. Scholars find claims Mary Magdalene was romantically involved with Jesus to be unsupported by evidence.
Giampietrino, (1495–1549)
Mary Magdalene, circa 1515
Private collection
Traditionally attributed to Leonardo da Vinci's student Giampietrino, though now argued to be a work by Leonardo himself. This painting shows Mary Magdalene as "a woman who repents of nothing, who feels no shame or guilt."
Giampietrino, probably Giovanni
Pietro Rizzoli (active 1495–1549), was a north Italian painter of
the Lombard school and Leonardo's circle. Giampietrino was a very productive
painter of large altarpieces, Madonnas, holy women in half figure, and
mythological women.
Giampietrino has been regarded as a talented painter who
contributed substantially to the distribution of the late style of Leonardo da
Vinci. He copied numerous masterpieces by Leonardo, as well as leaving behind
numerous capable original compositions of his own. Many of his works are
preserved in multiple versions of the same subject. More Giampietrino
The inaccurate portrayal of Mary Magdalene as a prostitute began after Pope Gregory I conflated Mary Magdalene with Mary of Bethany and the unnamed "sinful woman" who anoints Jesus's feet. Elaborate medieval legends from western Europe tell exaggerated tales of Mary Magdalene's wealth and beauty, as well as her alleged journey to southern France. 
Attributed to Gregor Erhart
Saint Mary Magdalene, c. 1515-20
Lime tree wood, original polychromy
H. 1.77 m; W. 0.44 m; D. 0.43 m
The Louvre
This nude figure represents saint Mary Magdalene as a mystic ascetic. According to legend, the repentant sinner lived a secluded life in the cave of Sainte-Baume, clothed only by her hair. Every day she was raised up in the sky by angels to hear the heavenly chorus. The statue appeared on the German art market in the 19th century and was purchased by the Louvre in 1902. More on this work
In 1969, the identification of Mary Magdalene with Mary of Bethany and the "sinful woman" was removed from the General Roman Calendar by Pope Paul VI, but the view of her as a former prostitute has persisted in popular culture.
It is widely accepted among secular historians that, like Jesus, Mary Magdalene was a real historical figure. Nonetheless, very little is known about her life. Mary Magdalene has left behind no writings of her own. The earliest sources about her life are the three Synoptic Gospels of Mark, Matthew, and Luke, which were all written during the first century AD.
Paolo Veronese, (1528–1588)
The Conversion of Mary Magdalene, circa 1548
Jesus healing Mary Magdalene
Oil on canvas
Height: 117.5 cm (46.2 in); Width: 163.5 cm (64.3 in)
National Gallery
Paolo Caliari, known as Paolo Veronese (1528 – 19
April 1588) was an Italian Renaissance painter based in Venice,
most famous for large history paintings of both religious and mythological
subjects, such as The Wedding at Cana and The Feast in the House of Levi. With
Titian, who was at least a generation older, and Tintoretto, ten years older,
he was one of the "great trio that dominated Venetian painting of the
cinquecento" or 16th-century late Renaissance. Veronese is known as a
supreme colorist, and after an early period with Mannerist influence turned to
a more naturalist style influenced by Titian.
His most
famous works are elaborate narrative cycles, executed in a dramatic and
colorful style, full of majestic architectural settings and glittering
pageantry. His large paintings of biblical feasts, crowded with figures,
painted for the refectories of monasteries in Venice and Verona are especially
famous, and he was also the leading Venetian painter of ceilings. Most of these
works remain in situ, or at least in Venice, and his representation in most
museums is mainly composed of smaller works such as portraits that do not
always show him at his best or most typical.
He has always been appreciated for "the chromatic
brilliance of his palette, the splendor and sensibility of his brushwork, the
aristocratic elegance of his figures, and the magnificence of his
spectacle", but his work has been felt "not to permit expression of
the profound, the human, or the sublime", and of the "great
trio" he has often been the least appreciated by modern criticism.
Nonetheless, "many of the greatest artists ... may be counted among his
admirers, including Rubens, Watteau, Tiepolo, Delacroix and Renoir". More on Paolo Caliari
The statement that Mary had been possessed by seven demons is not found in the earliest manuscripts, and is actually a second-century addition to the original text, possibly based on the Gospel of Luke. In the first century, demons were widely believed to be the cause of physical and psychological illness. Consequently, her devotion to Jesus on account of this healing must have been very strong.
Andrea Solari, (1460–1524)
Mary Magdalen, circa 1524
Oil on panel
H: 29 3/4 x W: 23 5/16
Walters Art Museum
Andrea Solari (also Solario) (1460–1524) was
an Italian Renaissance painter of the Milanese school. He was initially named
Andre del Gobbo, but more confusingly as Andrea del Bartolo a name shared with
two other Italian painters, the 14th Century Siennese Andrea di Bartolo, and
the 15th Century Florentine Andrea di Bartolo.
His
paintings can be seen in Venice, Milan, The Louvre and the Château de Gaillon
(Normandie, France). One of his better-known paintings is the Virgin of the
Green Cushion (c. 1507) in the Louvre
Solario
was one of the most important followers of Leonardo da Vinci, and brother of
Cristoforo Solari, who gave him his first training. In 1490 he accompanied his
brother to Venice, where he seems to have been strongly influenced by Antonello
da Messina, who was then active in the city. The two brothers returned to Milan
in 1493. The Ecce Homo at the Poldi-Pezzoli Museum, notable for its strong
modelling, may have been painted soon after his arrival.
In 1507
Andrea Solari went to France with letters of introduction to the Cardinal of
Amboise, and was employed for two years on frescoes in the chapel of his castle
of Gaillon in Normandy.
Andrea's last work was an altarpiece representing The
Assumption of the Virgin, left unfinished at his death and completed by
Bernardino Campi about 1576. More on Andrea
Solari
All four canonical gospels agree that Mary Magdalene, either alone or as a member of a group, was the first person to discover that Jesus's tomb was empty. Nonetheless, the details of the accounts differ drastically.
Fra Angelico
Noli Me Tangere, c. 1442
"Don't touch me, for I have not yet ascended to my father."
Fresco
Height: 166 cm (65.3 in); Width: 125 cm (49.2 in)
Museum of San Marco, Florence
Noli me tangere; The original Koine Greek phrase is better represented in translation as "cease holding on to me" or "stop clinging to me".
he tells her "Don't touch me, for I have not yet ascended to my father."
Jesus is shown holding an axe, symbolizing Mary's thinking of him as a gardener.
Fra Angelico (born Guido di Pietro; c. 1395 – February
18, 1455) was an Italian painter of the Early Renaissance,
described by Vasari in his Lives of the Artists as having "a rare and
perfect talent".
He was
known to contemporaries as Fra Giovanni da Fiesole and Fra Giovanni Angelico .
In modern Italian he is called Beato Angelico; the common English name Fra
Angelico means the "Angelic friar".
In 1982,
Pope John Paul II proclaimed his beatificatio in recognition of the holiness of
his life, thereby making the title of "Blessed" official. Fiesole is
sometimes misinterpreted as being part of his formal name, but it was merely
the name of the town where he took his vows as a Dominican friar, and was used
by contemporaries to separate him from others who were also known as Fra
Giovanni.
Vasari wrote of Fra Angelico that "it is impossible to
bestow too much praise on this holy father, who was so humble and modest in all
that he did and said and whose pictures were painted with such facility and
piety." More
on Fra Angelico
According to Matthew, Mary Magdalene and "the other Mary" went to the tomb. An earthquake occurred and an angel dressed in white descended from Heaven and rolled aside the stone as the women were watching. The angel told them that Jesus had risen from the dead. Then Jesus himself appeared to the women as they were leaving the tomb and told them to tell the other disciples that he would meet them in Galilee.
The Eastern Orthodox churches believe that after the Resurrection Mary Magdalene lived as a companion to the Virgin Mary. More on Mary Magdalene
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