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Saint Mary Magdalen, c. 1630 (oil on canvas)
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Saint Mary Magdalen, c. 1630 (oil on canvas)
500083 Saint Mary Magdalen, c.1630 (oil on canvas)
by Vouet, Simon (1590-1649); 159x132 (framed) 130.8x103.5 (unframed) cm; Cleveland Museum of Art, OH, USA; (add.info.: King Louis XIII summoned Vouet, who had worked for many years in Italy, back to France to paint for the court. Saint Mary Magdalene exemplifies innovations in Italian painting that Vouet brought back with him. The monumental figure, pulled to the front of the picture plane, ultimately stems from Caravaggios impact on Vouet in Rome, but the vivid colors reveal Vouets adaptation to the bright palette preferred in France.
); Leonard C. Hanna, Jr. Fund; French, out of copyright
Media ID 23553800
© Leonard C. Hanna, Jr. Fund / Bridgeman Images
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EDITORS COMMENTS
The print captures the exquisite painting of "Saint Mary Magdalen" by Simon Vouet, created around 1630. This oil on canvas masterpiece is housed in the Cleveland Museum of Art in Ohio, USA. Vouet's return to France after his long stay in Italy was marked by King Louis XIII summoning him to paint for the court. The influence of Italian painting can be seen in this artwork, as Vouet incorporated innovative techniques he had learned during his time there. The focal point of the painting is Saint Mary Magdalene herself, portrayed as a monumental figure pulled forward onto the picture plane. This technique was inspired by Caravaggio's impact on Vouet during his time in Rome. However, what sets this piece apart is Vouet's adaptation to the vibrant color palette preferred in France. Intriguing elements within the composition include a book symbolizing her devotion and knowledge, an orange shawl draped over her shoulders adding warmth and depth to her presence, and a skull at her feet representing mortality and penance. This stunning seventeenth-century artwork showcases both Vouet's mastery as a painter and his ability to blend influences from different artistic traditions into something truly unique. It serves as a testament to Saint Mary Magdalene's significance within Christian iconography while also highlighting Vouet's skillful execution of form and color.
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