Prostitution plagued seventeenth century Venice and Rome. As an increasing amount of women found themselves embroiled in the industry, the church felt they must step in and keep prostitution from spreading. They needed a symbol of hope. They needed a figure to represent the wayward woman turned from sin.
In a homily in 591, Pope Gregory I equated Mary Magdalene with the sinful woman of Luke 7. From this point onward, Magdalene was made out to be a sinful woman and later as a prostitute. Although Magdalene’s iconography as a prostitute was eventually found to be biblically inaccurate, sexual imagery of her continued. With prostitution rampant, Counter-Reformation efforts to reform prostitutes found “the penitent prostitute" to be the perfect symbol for their campaign.
Artists during the Baroque period produced an abundance of art depicting Magdalene. Representations of Magdalene highlighting themes of her sexuality and penitence were collected and encouraged during prostitution reforms in Venice and Rome. For a number of artists, Magdalene took on a didactic role for the cause of prostitution reform, while for others, the presence of the penitent prostitute in their art had no explicit agenda.
Amid artistic emphasis on Magdalene’s penitence, an unexpected exploration of her sensuality also emerged. While Magdalene’s iconography was officially associated with penitence, sensuality played a key role in almost every depiction of the saint during the Baroque period. What might be perceived as sexuality and lust, was termed “divine sensuality” by Baroque art and theology.
Every artwork I have picked discusses this interplay between Magdalene as a symbol of penitence and Magdalene as an expression of divine sensuality.
Titian, The Penitent Magdalene, 1531-35, oil on canvas,
Palatine Gallery Inventory 1912 no. 67
Titian, though a High Italian Renaissance painter, anticipated Baroque explorations of Mary Magdalene’s sexuality in this painting. This representation of the penitent Magdalene emphasized her sexuality and attractiveness more than any other painting of the time. Magdalene’s pose shares similarities with classical depictions of women in which they cover themselves for the male gaze. The pose among other elements of the painting makes Titian’s intentions of sexualizing Magdalene clear. While this painting was produced before Counter-Reformation prostitution reforms, Titian explores Magdalene’s role as a penitent sinner and as sensuous saint.
Michelangelo Merisi Detto Il Caravaggio, The Penitent Mary Magdalene, ca. 1597, oil on canvas, Doria Pamphilj Gallery Inventory Number 357
This painting marked a shift in portrayals of Mary Magdalene. Instead of disfiguring or idealizing Magdalene in order to make her appear less human, Caravaggio made Magdalene an ordinary and relatable woman. A number of art historians speculate that the model featured in the painting is a prostitute. Imaging Mary Magdalene as a prostitute was ground breaking in Baroque art. Caravaggio inspired much of the movement of "Penitent Magdalene” renditions with this piece that both emphasizes Magdalene’s divine sensuality and her penitence.
Johann Liss, The Temptation of Saint Mary Magdalen, ca. 1626, oil on canvas,
The Met Collection Object Number: 2020.220
Liss, after spending time in Rome and Venice, was inspired to create this painting. This depiction captures the moment of Mary Magdalene’s conversion when she is torn between penitence and temptation. The shadowed woman in a turban to the left of Magdalene offers her tray of golden, luxurious objects, while to the right, an angel encourages her toward morality. While a glance at the painting might inform the viewer that the man to the right is wrongfully seducing Magdalene, Liss is communicating something far different. The painting represents Magdalen’s sexuality as moral and good— a sort of holy sensuousness. Sexuality and sensuousness is explored in this painting as Magdalene’s breast is exposed and the angel on her right looks at her longingly. The painting represents Magdalene’s sensuality as holy and not lustful.
Guido Reni, Saint Mary Magdalene, ca. 1634, oil on canvas,
The National Gallery Inventory Number NG177
This is one of many depictions of Mary Magdalene in penance by Reni. This artwork shows the saint with her eyes turned up toward heaven. The blank background provides little narrative which makes the details in the painting all the more intentional. Magdalene’s red garb and flowing auburn hair identify her in iconography and allude to her past as a prostitute. The duality of Magdalene’s sexuality and holiness continues to play a role in this painting as the prostitute is crowned with a halo.
Georges de La Tour, The Penitent Magdalene, ca. 1640, oil on canvas
The Met Collection Object Number: 1978.517
La Tour addresses Mary Magdalene’s penance in a quiet and contemplative scene. La Tour was heavily influenced by Caravaggio and his work shares the same intense and emotional use of chiaroscuro. In this representation of Magdalene, La Tour emphasizes her penitence and the moment when she realizes her worldly vanity. This painting does not directly communicate her past as a prostitute, yet it hints at it. While the painting focuses on Magdalene’s penitence, references to her sexuality are seen in the vain pearls strewn on the table and around the floor, her sensuous red garb, and her alluring auburn hair falling down her back.
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