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      • According to Christian tradition, after meeting Christ, Mary Magdalene repented of her former sinful ways. With her ivory skin and long golden hair, the beautiful Magdalene turns her gaze toward heaven. Her cross and the skull make it clear she is meditating on the brevity of life and the salvation made possible by Christ's death.
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  2. The image of Mary Magdalene as a sinner who was redeemed through her devotion to Christ pervaded representations in the seventeenth century. Guido Reni has painted the saint with her iconic long blonde hair, indicative of her status as a fallen woman and a reference to the story of the sinner who washed Christ’s feet and dried them with her hair.

  3. Feb 19, 2024 · Magdalene by Guido Reni is a powerful painting that depicts Mary Magdalene, a figure from Christian tradition who is often associated with repentance and redemption. The painting portrays Mary in a contemplative pose, looking upward with a mixture of sorrow and hope in her eyes.

  4. Saint Mary Magdalene is here depicted with eyes raised heavenward, a sign of her devotion and penance. The Gospels describe Mary of Magdala as one of Christ’s followers, a witness to his burial and resurrection.

  5. Dec 27, 2017 · The Penitent Magdalene - Guido Reni. The claims that Mary Magdalene was a prostitute leading a promiscuous way of life before meeting Jesus and repenting of her sinful ways, are completely unfounded, and not supported by the canonical gospels.

  6. This work depicts Saint Mary Magdalene. It is a partial copy of a painting by Guido Reni in the Galleria Nazionale d’Arte Antica di Palazzo Corsini in Rome (inv. 1437).

  7. According to Christian tradition, after meeting Christ, Mary Magdalene repented of her former sinful ways. With her ivory skin and long golden hair, the beautiful Magdalene turns her gaze...

  8. St Mary Magdalene. 1633 Oil on canvas, 234 x 151 cm Galleria Nazionale d'Arte Antica, Rome. Executed by Reni for the Cardinal Antonio Santacroce, this painting of the Magdalene was presented by Valerio Santacroce to Cardinal Antonio Barberini in December 1641, after the death of its original owner.