| 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.
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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.
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