Mary Magdalene — images

Click a plate for the larger image. The images are — as far as I know — in the public domain, mostly found in the Web Gallery of Art. Where a plate carries a background link, it leads to the corresponding passage in the essay The popularity of a fallen woman.

The biblical figures

Stained glass roundel: the sinner anoints Jesus' feet at the banquet at Simon's — N.N. The sinner at the banquet at Simon's, who anoints Jesus' feet Stained glass window, ø 25 cm · ca. 1520 · Rijksmuseum, Amsterdam background →

Rogier van der Weyden: Mary Magdalene with her jar of ointment — Rogier van der Weyden Mary with her precious spikenard ointment Oil on panel, ca. 1450 · Musée du Louvre, Paris

Crucifixion with Mary, John and Mary Magdalene at the foot of the cross — Master of the Life of the Virgin Crucifixion with Mary, John and Mary Magdalene Oak, 1465–70 · Wallraf-Richartz-Museum, Cologne Mary, as a wealthy disciple of Jesus, is the only one richly dressed. Vanitas symbolism is already present at the foot of the cross.

Duccio di Buoninsegna: Noli me tangere, Jesus appears to Mary Magdalene — Duccio di Buoninsegna Jesus appears to Mary Magdalene (Noli me tangere — do not touch, or hold, me) Tempera on wood, 1308–11 · Museo dell'Opera del Duomo, Siena The classic Noli me tangere scene: Mary wants to hold Jesus and is rebuked. Jesus appears as the risen Lord, with the victory banner on his cross-staff. background →

Fra Angelico: Noli me tangere, fresco — Fra Angelico Noli me tangere Fresco (former convent of San Marco, first floor, cell 1), 166 × 125 cm, ca. 1450 · Florence Fra Angelico (= the angelic franciscan frater), who ornated the cells of his convent with wonderfull frescos, serene and expressive, ant theologically richt —as only he can. NB note the spade Jesus hides behind his halo: hortulanus est. background →

Caravaggio: Martha vermaant haar zus Maria voor de spiegel — Caravaggio Martha scolds her sister Mary (of Bethany). This Mary of Bethany is already merged with the penitent Magdalene, because Martha does not scold her for not assisting her in serving Jesus (as the story in the Bible says), but for her vanity (notice the mirror). background →

Mary the Penitent

Titian: the penitent Mary Magdalene with a skull — Titian (Tiziano Vecellio) The Penitent Mary Magdalene (the artist's own copy of a lost original) Oil on canvas, ca. 1560 · Hermitage, St Petersburg A trend-setting painting for the genre of the penitent Magdalene. The skull, as a vanitas symbol, rests on her knees. See the next image for a domestic variant. background →

Georges de La Tour: the Magdalene with the lamp — Georges de La Tour The Magdalene with the Lamp Oil on canvas, 1630–35 · Musée du Louvre, Paris The "penitent Magdalene" genre piece, hugely popular in seventeenth-century France.

Gregor Erhart: polychrome wooden statue of Saint Mary Magdalene, La belle Allemande — Gregor Erhart Saint Mary Magdalene Polychrome wood, ca. 1500 · Augsburg Also known as La belle Allemande, the "German beauty". Her nudity and her long hair betray the influence of Mary of Egypt. background →

Donatello: wooden statue of the aged Mary Magdalene, detail — Donatello Mary Magdalene (detail) Wood, 188 cm, ca. 1457 · Museo dell'Opera del Duomo, Florence The old Magdalene, careworn, still clad only in her hair. During restoration it was discovered that the statue was originally polychrome.

Mary of Egypt

Illuminated initial: Mary of Egypt and abbot Zosimus, Breviary of Martin of Aragon — N.N. The "Egyptian" and abbot Zosimus Initial (60 × 60 mm), Catalonia, 15th century · Breviary of Martin of Aragon, Bibliothèque nationale de France, Paris (ms. Rothschild 2529, fol. 354v) background →

Giotto: abbot Zosimus gives his cloak to Mary Magdalene, fresco at Assisi — Giotto Abbot Zosimus gives his cloak to Mary Fresco, 1320 · Magdalene Chapel, Lower Church of San Francesco, Assisi

Jusepe de Ribera: Maria Aegyptiaca, the old hermit in the cloak of Zosimus — Jusepe (Giuseppe) de Ribera Maria Aegyptiaca 1641 · Musée Fabre, Montpellier The old hermit, dressed in the cloak of Zosimus.

The voyage to Marseille

Mural: Mary with Martha and Lazarus lands at Marseille and converts the population — Anonymous Mary, with Martha and Lazarus, lands at Marseille and converts the local population Mural, 16th century · basilica of Saint-Quentin, France (own photograph) Note: as in a graphic novel, there is more than one scene to see. background →

Giotto: Mary Magdalene's sea voyage to Marseille, fresco at Assisi — Giotto Mary Magdalene's journey to Marseille Fresco, 1320 · Magdalene Chapel, Lower Church of San Francesco, Assisi

The Holy Cave at Sainte-Baume

Giotto: Mary Magdalene levitating, borne by angels, fresco at Assisi — Giotto Mary Magdalene in "levitation" Fresco, 1320 · Magdalene Chapel, Lower Church of San Francesco, Assisi

Tilman Riemenschneider: Mary Magdalene surrounded by angels, covered in hair — Tilman Riemenschneider Mary Magdalene surrounded by angels Wood, 187 cm, 1490–92 · Bayerisches Nationalmuseum, Munich Note how Mary, like the Egyptian, is completely covered with hair. The next image depicts the same scene from the legend. background →

Lorenzo di Credi: angels bring Holy Communion to Mary Magdalene — Lorenzo di Credi The angels bring Holy Communion to Mary Magdalene Tempera on wood, 51 × 38 cm, ca. 1510 · Christian Museum, Esztergom, Hungary Note how Mary is fed from heaven, and how her attribute — the bottle of oil — remains on earth.

The whole legend on one altarpiece

Lucas Moser: the Magdalene Altar at Tiefenbronn — Lucas Moser (?) Altarpiece in the church of Mary Magdalene, Tiefenbronn 15th century · Tiefenbronn All the relevant stories of the composite Mary are gathered here, except the Noli me tangere. Top: Bethany — Mary washes Jesus' feet while Martha works. Left: the arrival at Marseille. Centre, below: the saints asleep; above, Mary appears in a dream to the princess, promising her a child. Right: the last communion of Mary at St Maximin, dressed only in her hair — the Penitent and the Egyptian at once. Click through for the details.