Penitent Magdalene (Donatello)

Wooden sculpture of Mary Magdalene by the Italian Renaissance sculptor Donatello, created around 1453–1455.

- Penitent Magdalene (Donatello)

10 related topics

Relevance

Alley of grey poplars

Populus alba

Species of poplar, most closely related to the aspens (Populus sect.

Species of poplar, most closely related to the aspens (Populus sect.

Alley of grey poplars
Populus alba Pyramidalis
Poplar-lined road between Yarkand and Kargilik
Populus alba - wood - MHNT

The Penitent Magdalene by Donatello is one 15th-century example.

David at the Bargello, in Florence

Donatello

Florentine sculptor of the Renaissance period.

Florentine sculptor of the Renaissance period.

David at the Bargello, in Florence
Statue of St. John the Baptist in the Duomo di Siena
In 1409–1411 he executed the colossal seated figure of Saint John the Evangelist.
Donatello's David head and shoulders front right
St. George, Orsanmichele, Florence
marble pulpit
Equestrian Monument of Gattamelata (1445–1450), Padua
Bust of Niccolo da Uzzano, painted terracotta, 1430s, Bargello.
Penitent Magdalene, wood, c. 1455, Museo dell'Opera del Duomo, Florence.
Saint John the Evangelist (1408-1415), which until 1588 occupied a niche of the old Florence Cathedral façade, now at the Museo dell'Opera del Duomo.
Madonna and Child, painted terracotta, Louvre

Penitent Magdalene (c. 1455) – Museo dell'Opera del Duomo, Florence

The museum, seen from the Piazza del Duomo

Museo dell'Opera del Duomo (Florence)

Museum containing many of the original works of art created for the Cattedrale di Santa Maria del Fiore, the cathedral (Duomo) of Florence.

Museum containing many of the original works of art created for the Cattedrale di Santa Maria del Fiore, the cathedral (Duomo) of Florence.

The museum, seen from the Piazza del Duomo
The Deposition, 1547–1555, by Michelangelo, is featured in the museum
The logo of Opera del Duomo in the floor of the cathedral

Among the museum's holdings are Lorenzo Ghiberti's doors for the Baptistery of Florence Cathedral called the Gates of Paradise, the cantorias, or singing-galleries, designed for the cathedral by Luca della Robbia and Donatello, Donatello's Penitent Magdalene.

Square in Florence with a white high water mark of the 1966 flood. At this point the marker is about 4 m high.

1966 flood of the Arno

The 1966 flood of the Arno (Alluvione di Firenze del 4 novembre 1966) in Florence killed 101 people and damaged or destroyed millions of masterpieces of art and rare books.

The 1966 flood of the Arno (Alluvione di Firenze del 4 novembre 1966) in Florence killed 101 people and damaged or destroyed millions of masterpieces of art and rare books.

Square in Florence with a white high water mark of the 1966 flood. At this point the marker is about 4 m high.
Manuscripts from the National Library being washed and dried in the boiler room of Firenze Santa Maria Novella railway station, after the flood

Magdalene Penitent by Donatello

Mary Magdalene (c. undefined 1524) by Andrea Solari, showing her as a myrrhbearer

Mary Magdalene

Woman who, according to the four canonical gospels, traveled with Jesus as one of his followers and was a witness to his crucifixion and

Woman who, according to the four canonical gospels, traveled with Jesus as one of his followers and was a witness to his crucifixion and

Mary Magdalene (c. undefined 1524) by Andrea Solari, showing her as a myrrhbearer
Photograph taken c. undefined 1900 of al-Majdal, a village standing among the ruins of Magdala, Mary Magdalene's hometown
The Conversion of Mary Magdalene (c. undefined 1548) by Paolo Veronese. According to Gospel of Luke, Jesus exorcized "seven demons" from Mary Magdalene.
Detail of Mary Magdalene weeping at the crucifixion of Jesus, as portrayed in The Descent from the Cross (c. undefined 1435) by the Flemish artist Rogier van der Weyden
The Deposition (1507) by Raphael, showing a distressed, reddish-blond-haired Mary Magdalene dressed in fine clothes clutching the hand of Jesus's body as he is carried to the tomb
Holy Women at Christ's Tomb (c. undefined 1590s) by Annibale Carracci. In, Mary Magdalene and "the other Mary" encounter an angel at the tomb, who tells them that Christ has risen.
Appearance of Jesus Christ to Maria Magdalena (1835) by Alexander Andreyevich Ivanov. In, Mary Magdalene sees the risen Jesus alone and he tells her "Don't touch me, for I have not yet ascended to my father."
Fragment of a fourth-century text of the apocryphal Dialogue of the Saviour, in which Mary Magdalene is a central figure
Last page of the Gospel of Thomas from Nag Hammadi, containing the account of Jesus's reaffirmation of Mary's authority to Peter
Text of the Gospel of Philip from Nag Hammadi
Papyrus Oxyrhynchus L 3525, a fragment of the Greek text of the Gospel of Mary
This fresco from the nave of the Dura-Europos church dates to c. undefined 240 and contains the oldest surviving depiction of Mary Magdalene. She is shown alongside two other women (the third now almost completely missing due to extensive damage), each holding a lit torch and a bowl of myrrh, as they approach Jesus's tomb, which is still sealed.
In 1279, the monks of Saint-Maximin-la-Sainte-Baume said they discovered Mary Magdalene's skeleton. The reliquary at St. Maximin, created in the nineteenth century, contains her purported skull.
International Gothic Elevation of Mary Magdalene with angels raising her in SS. Johns' Cathedral in Toruń
Christ and the Penitent Sinners (1617) by Peter Paul Rubens is a typical example of how Mary Magdalene was portrayed during the Baroque era, emphasizing her erotic allure and blurring the lines between religious and erotic art.
Penitent Magdalene (1893) by Adolfo Tommasi
Eastern Orthodox icon of Mary Magdalene as a Myrrhbearer
Mary Magdalene attributed to Gregor Erhart (d. 1525)
The Three Marys at the Tomb by Peter Paul Rubens, with Mary Magdalene in red
Icon of Saint Mary Magdalene depicted as one of the Myrrhbearers with the words "Christ is Risen" in Greek at the top, depicting her discovery of the empty tomb
Christ with Martha and Mary (1886) by Henryk Siemiradzki, showing the conflated "composite Magdalene" sitting at Jesus's feet while her sister Martha does chores.
Noli me tangere fresco by Fra Angelico
Mary Magdalene Reading ({{circa}} 1500–1510) by Piero di Cosimo
Noli me tangere ({{circa}} 1512) by Titian
Mary Magdalene (early 1500s) by Ambrosius Benson
Magdalena Penitente (early 1500s) by Giampietrino
Mary Magdalene (1615) by Juan Bautista Maíno
Penitent Magdalene ({{circa}} 1576–1578) by El Greco
Mary Magdalene (1615–1616 or 1620–1625) by Artemisia Gentileschi
St Mary Magdalene in Ecstasy ({{circa}} 1619–1620) by Peter Paul Rubens
Mary Magdalene (1641) by José de Ribera
Magdalene with the Smoking Flame ({{circa}} 1640) by Georges de La Tour
Christ Appearing to Mary Magdalene (between 1640 and 1650) by Pietro da Cortona
The Magdalene (before 1792) by George Romney
Mary Magdalene (1858–1860) by Frederick Sandys
Christ and Mary Magdalene (1890) by Albert Edelfelt in a Finnish locale
The Magdalene (1843) by Carlo Marochetti

undefined 1386 – 1466) to portray her as a gaunt and beaten ascetic in his wooden sculpture Penitent Magdalene (c.

Painting of the Piazza della Signoria and Loggia dei Lanzi in Florence, 1830, Carlo Canella. From left, Fountain of Neptune, Rape of the Sabine by Giambologna, David by Michelangelo, one of the Medici Lions, Perseus with the Head of Medusa by Benvenuto Cellini, hiding Hercules and Cacus by Baccio Bandinelli. Away from the loggia wall, the Medici Pasquino Group, copying an ancient Roman subject.

Italian Renaissance sculpture

Important part of the art of the Italian Renaissance, in the early stages arguably representing the leading edge.

Important part of the art of the Italian Renaissance, in the early stages arguably representing the leading edge.

Painting of the Piazza della Signoria and Loggia dei Lanzi in Florence, 1830, Carlo Canella. From left, Fountain of Neptune, Rape of the Sabine by Giambologna, David by Michelangelo, one of the Medici Lions, Perseus with the Head of Medusa by Benvenuto Cellini, hiding Hercules and Cacus by Baccio Bandinelli. Away from the loggia wall, the Medici Pasquino Group, copying an ancient Roman subject.
Francesco Laurana, A Princess of the House of Aragon, c. 1475
Michelangelo's Pietà, completed in 1499.
Luca della Robbia, Resurrection, glazed terracotta, 1445.
Nymph of Fontainebleau, Benvenuto Cellini, bronze, c. 1543, Louvre (H. 2.05 m; L. 4.09 m)
Relief bust of a boy in pietra serena, unknown, c. 1500
Cellini Salt Cellar, gold and enamels, by Benvenuto Cellini
Choir stalls at the Frari, Venice
Lamentation group in terracotta, Niccolo dell'Arca, Santa Maria della Vita, Bologna, c. 1460 or later.
Donatello, "Piot Madonna", terracotta, with medallions of coloured wax under glass and traces of gilding, c. 1440.
Table set with sugar sculptures for a German princely wedding in 1587.
Tomb of Doge Tommaso Mocenigo, d. 1423, Santi Giovanni e Paolo, Venice, by Piero di Niccolò Lamberti (1393–1435) and Giovanni di Martino da Fiesole.
Orsanmichele, Florence; replicas are now in the niches outside, with the originals inside
The Fonte Gaia in Siena, Jacopo della Quercia (1419, reliefs now replaced by replicas)
Presumed self-portrait of Leon Battista Alberti, c. 1435
Equestrian statue of Gattamelata in Padua by Donatello (1453)
The earliest dated Renaissance portrait bust, 1453, by Mino da Fiesole of Piero de' Medici
Medal of John VIII Palaeologus, c. 1438, Pisanello
Horse by Giambologna (workshop), probably around 1590. 10 inches (25 cm) high.
Cameo of Joanna of Austria, Princess of Portugal and Regent of Spain, 1566, Jacopo da Trezzo, a Milanese who died in Madrid.
Andrea Pisano (perhaps to a design by Giotto), sculptor at work. Florence campanile, 1348–50.
Relief of Joseph and Potiphar's wife, from Bologna Cathedral, traditionally given to Properzia de' Rossi
Relief from the "Triumphal arch" of the Castel Nuovo, Naples, showing the entry of the new king Alfonso V of Aragon, late 1450s.
Nicola Pisano, Nativity scene from the pulpit of the baptistery at Pisa, 1260
Main relief of the Assumption, Porta di Mandorla, Florence Cathedral, Nanni di Banco
The north doors of the Florence Baptistery, Lorenzo Ghiberti and workshop, 1401 to after 1415
The Ascension with Christ giving the Keys to St. Peter, 1428–1430, in typical very low relief.
David by Andrea del Verrocchio, 1470s
Relief for the tomb of Gaston de Foix by Agostino Busti
Victory, intended for the Tomb of Pope Julius II
Benvenuto Cellini, Perseus with the Head of Medusa, 1545–1554
Apennine Colossus, 1580s, Villa di Pratolino
Reproductive engraving by Jacob Matham, of Moses, by Michelangelo, 1593
Stucco overdoor at Fontainebleau, probably designed by Primaticcio, who painted the oval inset
Fresco of Niccolò da Tolentino, Andrea del Castagno 1456
Equestrian statue of Bartolomeo Colleoni, started by Andrea del Verrocchio in the 1480s, Venice
Leonardo da Vinci, Study for the Sforza Horse (first design)
Giambologna, Cosimo I de' Medici, 1598, Piazza della Signoria, Florence
Pisanello, Ludovico Gonzaga, 1447, reverse
Lisisppo il giovane, self-portrait medal, 1475–80
Medal of the Pazzi conspiracy, with Lorenzo, 1478, Bertoldo di Giovanni
Gold medal of Queen Mary I of England, 1554, Jacopo da Trezzo
Hercules and the Nemean Lion, {{ill|Galeazzo Mondella|it|Galeazzo Mondella}} (Moderno), c. 1500, gilt bronze plaquette
Paris with his apple, statuette by Antico, c. 1500–05, 14 5/8 inches (37 cm) high
Andrea Riccio, oil-lamp with putti, Padua, 1515–25
Andiron fronts with Venus and (?) Mars. Design by Girolamo Campagna, possibly made in 17th century. 44 1/2 inches (113 cm) high
The Sacrifice of Isaac, Brunelleschi's trial piece for the north doors of the Florence Baptistery competition, 1401
The Sacrifice of Isaac, Ghiberti's winning piece for the 1401 competition
Gates of Paradise, Baptistery, Florence, the doors in situ are reproductions
Adam and Eve, from the Gates of Paradise
Angled view of a panel with the story of Abraham from the Gates of Paradise
St George, marble, for Orsanmichele, 1415–17
The bronze David (1440s?), Bargello Florence, h.158 cm
Madonna and Child with Four Cherubs, terracotta, originally with colour
Penitent Magdalene, wood, c. 1455
Luca della Robbia's cantoria, now Florence Cathedral Museum
Detail of Luca della Robbia's cantoria
Detail of the Donatello cantoria
Desiderio da Settignano, Jesus and John the Baptist, 1455–57
Philosophy, from the Tempio Malatestiano, Rimini
Hercules and Cacus, Baccio Bandinelli, Piazza della Signoria, Florence
Restoration of Pisa by Cosimo I de' Medici, by Pierino da Vinci
Vincenzo Danti, Beheading of John the Baptist, 1570s
Alessandro Vittoria, Bust of a Venetian patrician, 1570-1600
Fountain of Neptune, Bologna, 1553–56
Florence triumphing over Pisa, modello in gesso (plaster), for a Medici wedding in 1565
Large bronze version of Mercury (Bargello)
Rape of the Sabine, 1579–85

Other exceptions included Donatello's several figures for the altarpiece of the Frari church in Venice, his Penitent Magdalene and works by Francesco di Valdambrino in Tuscany around 1410.

Holy Trinity (Botticelli)

Altarpiece by the Italian Renaissance painter Sandro Botticelli, dating to c. 1491–1493.

Altarpiece by the Italian Renaissance painter Sandro Botticelli, dating to c. 1491–1493.

The figure of Magdalene resembles the contemporary "Magdalene Penitent" by Donatello (1453–1455) and that by Desiderio da Settignano (c.

Cover of the first edition

Glittering Images

2012 book by American cultural critic Camille Paglia, in which the author discusses notable works of applied and visual art from ancient to modern times.

2012 book by American cultural critic Camille Paglia, in which the author discusses notable works of applied and visual art from ancient to modern times.

Cover of the first edition
Paglia discusses the Charioteer of Delphi, a notable ancient Greek work.
Paglia praises the intricacy of the Book of Kells, the section devoted to Virgin Mary pictured here.

The eighth piece included is Donatello's 'Mary Magdalene', a work of the Italian Renaissance created in 1453 that showed the artist's ability to be "harsh and imposing".

Temple of Apollo

Nymphenburg Palace Park

The Nymphenburg Palace Park ranks among the finest and most important examples of garden design in Germany.

The Nymphenburg Palace Park ranks among the finest and most important examples of garden design in Germany.

Temple of Apollo
View along the Central canal
Boy being dragged down by dolphin, Peter Lamine (1816)
Nymphenburg Palace Park, Overview: 1 palace, 2 Garden parterre with fountain, 3 Crown Prince Garden with pavilion, 4 Amalienburg, 5 Village with Brunnhaus (Fountain House), 6 Badenburg, 7 Temple of Apollo, 8 Great Cascade, 9 Pagodenburg, 10 Magdalenenklause, 11 Botanical Garden
Aerial image of the Nymphenburg Palace Park
Bird's eye view of Nymphenburg Palace and Park, miniature by Maximilian de Geer, around 1730
Nymphenburg Palace and the Great parterre from the west, around 1761
Plan of Nymphenburg Park, by Friedrich Ludwig Sckell, around 1802
"Plan of the Royal Summer Palace Nymphenburg and its gardens", engraving by Ludwig Emmert, around 1837
Equestrian Liselott Linsenhoff, individual dressage gold medalist at the 1972 Olympic Dressage Facility Nymphenburg, Emirate of Ajman stamp
View from the east of the main palace: Canal with driveways, in the background the circular palace
The basin in the Grand circle, where the palace canal ends
View of the Garden parterre from the west, 2005
Garden parterre from the west, around 1722 (after Matthias Diesel)
The Crown Prince's Garden
The North Cabinet Garden
Small cascade in the South Cabinet Garden
Bird house by Cuvilliés
Pumping station in the Johannisbrunnhaus (St John's Pumping Station)
Badenburg Lake with Apollo temple
Bridge across the southern canal near the Badenburg
Former sluice basin of the southern canal between the Village and the Amalienburg
The Great Cascade from the northeast. On the right the sculpture of the Isar, on the left that of the Danube
The fountain on the city side
Triton's children riding dolphins by Guillielmus de Grof, 1722
The Badenburg
Chinese floral wallpaper
The Pagodenburg on the northern shore of the northern lake
The Pagodenburg
The Salettl on the ground floor
Amalienburg, view from the east
Amalienburg kitchen: in the foreground is a conventional stove. The fire was made on the stove plate. In the niche behind is a Castrol stove, the fire of which used less heating material.
Stucco sculpture with the hunting goddess Diana
Magdalenenklause, view from the southeast after a lithography by Carl von Lebschée, 1830
The Magdalenenklause was designed to look like a ruin
Temple of Apollo
The Village, in front the Deer Park Pump House and behind the Green Pump House
The Iron House
View of the Schwanenhals Greenhouse, which thanks to its arched facade stores heat very efficiently.
Decorative vase, by Roman Anton Boos
Statue of Hercules, by Giuseppe Volpini, 1717
Statue of Proserpina with the owl Askalaphus, by Dominik Auliczek, 1778
Cybele with mural crown, by Giovanni Marchiori, 1765
The Pan Group
Lithography, that shows the Pan Group at its installation.
Group of statues Judgement of Paris by Landolin Ohmacht
Historic depiction of Nymphenburg and its roads by Johann Adam von Zisla (1723)
Ha-ha in the south-west
The North Vista seen from the north-west
The Kugelweiher pond in the north
Ancient linden near the Hartmannshofer Gate
Common winter damselfly
European polecat
Bohemian waxwing
Summer linden tree near the Badenburg Lake

The design was executed by Johann Bernhard Joch, the stucco figure of the Penitent Magdalene is the work of Giuseppe Volpini, the ceiling frescoes in the chapel room and in the apse were created by Nikolaus Gottfried Stuber.

Jean Fouquet, Left side of the Melun Diptych, Virgin and Child Surrounded by Angels (c.1452)
Wood, 93 x 85 cm

1450s in art

The decade of the 1450s in art involved many significant events, especially in sculpture.

The decade of the 1450s in art involved many significant events, especially in sculpture.

Jean Fouquet, Left side of the Melun Diptych, Virgin and Child Surrounded by Angels (c.1452)
Wood, 93 x 85 cm
Great Generals of the Desert and the Spirits of Grasses and Trees Who Dwell in the Void of Water and Land, part of the Water and Land Ritual paintings

c.1455: Donatello's Mary Magdalene, for Florence Cathedral, now in Museo dell'Opera del Duomo (Florence).