Mary Magdalene (Artemisia Gentileschi)

The figure portrayed is Mary Magdalene in a gown of yellow silk.^[4] This image of Mary Magdalene demonstrates the saint as a “model of Zealous devotion,” as she is shown in the moment of her changing from a sinner's path to one devoted to Christ.^[2] Magdalene's depiction departs from her traditional representation: Mary Magdalene is repentant and suffering, but she is not shown with a skull, she is not in landscape setting, and there is no crucifix by her.^[5]

The work is signed "Artemisia Lomi" on the wooden upright of the chair, although this signature may be by a later hand.^[3] The painting is constructed from three pieces of canvas, with the strip running down the left hand side and the chair upon which the signature is found being a possible later addition.^[3]

Gentileschi would not have been welcome in workshops or academies because she was a woman.^[6] Despite this, Gentileschi became a member of the Accademia delle Arti del Disegno in 1616.^[2][7] The exaggerated gesture and expression, as well as the luxurious materials in this painting, are stylistic indicators that this painting was painted in Florence.^[3] Raymond Ward Bissell claims these elements, as well as the color scheme of gold, red and green, can be understood in this painting as the Florentine Baroque style.^[3]

Gentileschi was known for her innovative interpretations of traditional subjects: she brought a womanly perspective to an otherwise male-dominated field, and therefore commonly expressed stories of heroism by women.^[7]

Gentileschi was greatly influenced by the works of Caravaggio, who also painted scenes featuring Mary Magdalene as Gentileschi was growing up.^[2][4] Gentileschi would develop her dramatic use of light and shadows, known as chiaroscuro, from the paintings of Caravaggio she had access to, who made dramatic use of this technique.^[8] Chiaroscuro in the Penitent Magdalene is evident in the stark contrast between the figure and her background, and in the contrast between the fabric and folds of her dress.

This depiction blends elements from two different biblical women: Mary, the sister of Lazarus (as referenced by the engraving on the mirror) and Mary Magdalene, signified by the jar of ointment at her feet.^[2] The combination of the two biblical characters to form Mary Magdalene was to be expected, as they were considered the same person in the sixth century.^[2] Though Mary Magdalene's dress has slipped offer her shoulder, it does not reveal her body, alluding to Mary Magdalene's eroticized past, as she is often depicted.^[2] Mary Magdalene was a commonly depicted figure at this time due to her relatable story: Mary Magdalene underwent a transition from a sinner to a repentant sinner.^[4]

Her devotion is expressed in the upward glance toward heaven, and her intenseness as she leaves behind her erotic past.^[2] This scene is further supported as a moment of conversion as Mary pushes away a mirror (a symbol of vanity) inscribed with the words Optimam partem elegit (“You have chosen the best part”).^[4] The quote is from the Bible, Luke 10: 41–42, in which Jesus teaches Martha that her sister Mary has made a better choice in embracing a spiritual life.^[3] It is improbable that this phrase was added by Gentileschi, but at a later point in time, as is suggested by the words appearing in the gloss of the canvas.^[3]

Mary Magdalene's expensive clothing and her sensual appearance do not contradict the spiritual meaning of this piece.^[3] The exaggerated gesture of Mary's left arm and her turning away from the jewelry box next to her together indicate that she is refusing vanity.^[3]

Scholars like Mary Garrard interpret Artemisia's works, such as the Penitent Magdalene, to be representing Gentileschi.^[2] This interpretation is often understood because both the saint and painter faced stigmatization for being sexually promiscuous.^[2] The situations between the two figures of Mary Magdalene and Artemisia differ, however, because Mary Magdalene's stigma derives from her background as a prostitute, while Gentileschi's stigma stems from her rape trial in 1612.^[2][7] This interpretation is made due to the inscription, "Optimam partem elegit," (“you have chosen the best part”), which is interpreted as Gentileschi making the most of her assault by placing herself in Mary Magdalene's position.^[3] This interpretation could be applied to her professional success though, rather than making the most of her assault.^[3]

In more recent scholarship academics such as Rebecca Mead have responded to the interpretation of Gentileschi's painting through the lens of her sexual assault, and subsequent understanding of Gentileschi's paintings as a channel for revenge, has been challenged.^[8] This perspective has been challenged because researchers want to view Gentileschi through multiple facets of her life; not just through her assault,^[8] but through her perspectives as a mother, as a successful business woman, and her “erotic passion”.^[8] Rather than see Gentileschi's paintings, such as the Penitent Magdalene, as a self portrait of Gentileschi for her similar features, one should view the Penitent Magdalene and think of the access Gentileschi had to source materials other than herself.^[8]