| St Mary Magdalene Reading | |
|---|---|
 | |
| Artist | Piero di Cosimo |
| Year | between 1490 and 1495 |
| Medium | Painted on Wood |
| Dimensions | 76 cm× 72.5 cm(30 in× 28.5 in) |
| Location | Galleria Nazionale d'Arte Antica, Rome |
St Mary Magdalene Reading is a painting by the Italian Renaissance painter Piero di Cosimo. It is housed in the Galleria Nazionale d'Arte Antica of Palazzo Barberini, Rome.
The work depicts Mary Magdalene at a window-like table, reading a bible. She is dressed in a contemporary multicolor gown and cape; she is identifiable as the Magdalen by her long slightly curled hair draping over her shoulders and the bottle of unguent on the shelf beside her. She wears a ring of pearls in her hair. Around her hair a filigree of a halo. On the sill is the painter's signature. The use of shadows to give dimension to the face, and the settled pose of the Magdalen, identify the work as emerging from Piero di Cosimo's late works, influence by Leonardo da Vinci. [1] The intended patron of the work is not identified. Mary Magdalen paintings were sometimes desired by individuals bearing the name, however, there were also monasteries dedicated to fallen women which were often dedicated to this saint.
Fra Bartolomeo or Bartolommeo, also known as Bartolommeo di Pagholo, Bartolommeo di San Marco, Paolo di Jacopo del Fattorino, and his original nickname Baccio della Porta, was an Italian Renaissance painter of religious subjects. He spent all his career in Florence until his mid-forties, when he travelled to work in various cities, as far south as Rome. He trained with Cosimo Rosselli and in the 1490s fell under the influence of Savonarola, which led him to become a Dominican friar in 1500, renouncing painting for several years. Typically his paintings are of static groups of figures in subjects such as the Virgin and Child with Saints.
Piero della Francesca was an Italian painter of the Early Renaissance. To contemporaries he was also known as a mathematician and geometer. Nowadays Piero della Francesca is chiefly appreciated for his art. His painting is characterized by its serene humanism, its use of geometric forms and perspective. His most famous work is the cycle of frescoes The History of the True Cross in the church of San Francesco in the Tuscan town of Arezzo.
Piero di Cosimo, also known as Piero di Lorenzo, was an Italian painter of the Renaissance.
Filippo Lippi, also known as Lippo Lippi, was an Italian painter of the Quattrocento and a Carmelite priest. He was an early Renaissance master of a painting workshop, who taught many painters. Sandro Botticelli and Francesco di Pesello were among his most distinguished pupils. His son, Filippino Lippi, also studied under him and assisted in some late works.
Portrait of Simonetta Vespucci is an oil on canvas painting by the Italian Renaissance painter Piero di Cosimo, dating from about 1480 or 1490. It is in the Musée Condé in Chantilly, France.
Giampietrino, probably Giovanni Pietro Rizzoli, was a north Italian painter of the Lombard school and Leonardo's circle, succinctly characterized by S. J. Freedberg as an "exploiter of Leonardo's repertory."
The St. Cecilia Altarpiece is an oil painting by the Italian High Renaissance master Raphael. Completed in his later years, in around 1516–17, the painting depicts Saint Cecilia, the patron saint of musicians and Church music, listening to a choir of angels in the company of St. Paul, St. John the Evangelist, St. Augustine and Mary Magdalene. Commissioned for a church in Bologna, the painting now hangs in that city's Pinacoteca Nazionale. According to Giorgio Vasari the musical instruments strewn about Cecilia's feet were not painted by Raphael but by his student, Giovanni da Udine.
Perseus Freeing Andromeda or Liberation of Andromeda is a painting created by Piero di Cosimo, during the Italian Renaissance. The painting was praised by critics and art historians for its aesthetic, cosmological and political implications. The painting is a recreation of the myth of Perseus, the demi-god, who slays the sea monster and saves the beautiful Andromeda. The painting is based on a story created by the ancient Roman writer Ovid, in the Metamorphoses. The themes of the painting include platonic love, ideal beauty, marriage, and natural beauty. The painting includes portraits of the Medici family and many of Florentine's elite upper ruling class as characters in the story of Perseus Freeing Andromeda. The painting also represents a paragone between painting and sculpture. The painting resides in the Uffizi in Florence.
The Immaculate Conception with Saints is a painting by the Italian Renaissance painter Piero di Cosimo, executed between 1485 and 1505. It is housed in the Uffizi Gallery of Florence, Italy.
The Magdalen Reading is one of three surviving fragments of a large mid-15th-century oil-on-panel altarpiece by the Early Netherlandish painter Rogier van der Weyden. The panel, originally oak, was completed some time between 1435 and 1438 and has been in the National Gallery, London since 1860. It shows a woman with the pale skin, high cheek bones and oval eyelids typical of the idealised portraits of noble women of the period. She is identifiable as the Magdalen from the jar of ointment placed in the foreground, which is her traditional attribute in Christian art. She is presented as completely absorbed in her reading, a model of the contemplative life, repentant and absolved of past sins. In Catholic tradition the Magdalen was conflated with both Mary of Bethany who anointed the feet of Jesus with oil and the unnamed "sinner" of Luke 7:36–50. Iconography of the Magdalen commonly shows her with a book, in a moment of reflection, in tears, or with eyes averted.
Woman with a Mirror is a painting by Titian, dated to c. 1515 and now in the Musée du Louvre, in Paris.
La Scapigliata is an unfinished painting generally attributed to the Italian High Renaissance artist Leonardo da Vinci, and dated c. 1506–1508. Painted in oil, umber, and white lead pigments on a small poplar wood panel, its attribution remains controversial, with several experts attributing the work to a pupil of Leonardo. The painting has been admired for its captivating beauty, mysterious demeanor, and mastery of sfumato.
The Vision of Saint Jerome is a painting by the Italian Mannerist artist Parmigianino, executed in 1526–1527. It is now in the National Gallery, London, United Kingdom.
Magdalene with the Smoking Flame is a c. 1640 oil-on-canvas depiction of Mary Magdalene by French Baroque painter Georges de La Tour. Two versions of this painting exist, one in the Los Angeles County Museum of Art and the other in the Louvre Museum.
The Madonna and Child with Sts Jerome and Mary Magdalen (The Day) is an oil on canvas painting by the Italian Renaissance artist Correggio dating from around 1528 and housed in the Galleria Nazionale of Parma, Italy.
The Master of Staffolo was an anonymous late-Gothic style painter active in the region of Marche and Umbria.
Penitent Magdalene is a 1616–1618 painting by the Italian baroque artist Artemisia Gentileschi. This painting hangs in the Pitti Palace in Florence. The subject is the biblical figure Mary Magdalene, but the painting references another biblical woman, Mary, the sister of Lazarus. This painting was likely painted during Gentileschi's Florentine period.
Hercules and the Hydra is a c. 1475 tempera grassa-on-panel painting by Antonio del Pollaiuolo, forming a pair with the same artist's Hercules slaying Antaeus. Both works are now in the Galleria degli Uffizi in Florence. It measures 17 cm by 12 cm, small like all his surviving mythological paintings. It is assumed that both these are miniature copies by the artist of two out of the three enormous paintings on canvas of the Labours of Hercules commissioned from Antonio and Piero del Pollaiuolo by Piero di Cosimo de' Medici for the Sala Grande of the Palazzo Medici in the 1460s, which have now been lost.
Madonna and Child with Saints is an oil on canvas painting by Agostino Carracci, from 1585, dated on the lowest step of the Virgin Mary's throne. An example of a sacra conversazione. Long in the Benedictine abbey of San Paolo in Parma, French troops took it to Paris in 1796 and on its return to Italy in 1816 it was moved to the Galleria nazionale di Parma, where it still hangs.
The Dead Christ Mourned is an oil painting on canvas of c. 1604 by Annibale Carracci. It was in the Orleans Collection before arriving in Great Britain in 1798. In 1913 it was donated to the National Gallery, London, which describes it as "perhaps the most poignant image in [its] collection of the pietà – the lamentation over the dead Christ following his crucifixion – and one of the greatest expressions of grief in Baroque art".
 | This article about a sixteenth-century painting is a stub. You can help Wikipedia by expanding it. |