Saint Mary Magdalen of Oil.

Georges de la Tour was an artist of Northern Europe of 17th Century France who painted and incorporated religious themes into his work. Of the time period, it was only a motif of some painters of the century to do this, as areas were becoming more secular. Art in France, unlike Flanders and the Dutch Republic, was a country of Catholicism, so religious settings were bound to appear in some art (but not commonly displayed like in Italian Baroque art).*** Displayed with great size in the Metropolitan Museum of Art is his piece done from 1638-1643, The Penitent Magdalen. It is oil on a canvas with the dimensions of 32 1/2 x 40 1/4 inches.
Visual formal elements of de la Tour's painting can be evaluated by noticing his use of color, line, shape, texture, and the observation of light and darkness. At first, I noticed the painting to have a very glossy surface, from both up close and afar, but the shapes of solid color seem to be disturbed by little cracks in the paint when you look very closely (maybe intentional or just because of aging). This, I don't think, was an intention of de la Tour (the glossy look), but the characteristic of a shine comes along with the use of oil paints. His use of color is not bland but not very vibrant either as only some shapes in the painting are lively. Neutral colors of brown and black are used with dark and bright reds and whitish yellows to emphasize the separation of figures and patterns of light. It is the single candlestick being the main source of light in de la Tour's painting of Mary Magdalen that gives a vibrancy to her figure. Highlights of lighter color are used to bring out the reflection of light not only on the woman herself, but in the different patterns of color in the frame of the mirror, in the skull on her lap, and in the pattern on her clothing. The small pearl necklace and the minor figures in the foreground also reflect light by color and shadow.
In the lighter parts of the painting, texture of different parts of the piece are more noticeable. Mary Magdalen's hair seems to be smooth and flowing, draping casually over what might be the back of the chair or just her back, with shine and light texture through small brush strokes. Because of light and what seems to be a dark shadow, her hair merges with the side of her sleeve but is different from the background. Parts of her figure are very distinguished with drastic shades of light and dark, for example the front of her face. It is opposite here as the back side of her is dark with a lighter backdrop and the other side of her by her face and other sleeve is white and bright, with a darker background. The contour of her profile beginning at her lower forehead brings your eyes all the way down to her ruffled sleeve, visually on the same side and very crisp in color from the background of darkness.
As far as other styles of brushwork used in de la Tour’s painting, it is very smooth and blended, not a caked oil paint anywhere at all. The bottom trim of Magdalen’s skirt is textured and patterned because of the reflection of light and incorporating shades of colors within it. Gold is used to bring out other patterns as well as different highlights of dark and light reds. Her clothing is quite dynamic in this way, especially her puffed sleeves. The materiality in texture of her clothes are painted different from her smooth, porcelain skin. The ruffled sleeve that is visually the closest to us has dark browns integrated within the shape of the almond white shape, with angles of cloth following the bend of her elbow and scrunched up by her forearm. It is also gathered at where the sleeve would rest by her wrist at the end, where de la Tour uses line of different lengths and color to give the impression of a sleeve full of movement. As this is the side of her body, it goes off into the rest of the painting, in harmony with the background and a part of her lower body because of the distinguished darkness of the foreground. You can still see the sleeve as a separate body though as a figure of its own because of light.
Frontally, Magdalen’s body is illuminated from her face, to her torso, to her lap, to her shins, all the way down to the ground, which is where there is a created horizontal line of light and shadow that’s cast from the trim of her dress in existence from the source of light. Geometric shape is noticed here, as it is also in Magdalen’s pose itself. She’s very perfect in posture, at ninety degree angles each way her body flows with the position of the chair. Her hands folded very perfectly on her lap as well. The background behind the rectangular mirror and the woman is also divided up into shapes.
The composition seems balanced, as Magdalen occupies most of the painting at and angle and semi-off to the side with the table horizontal with her lap and mirror to the other side of the painting. It is asymmetrical and peaceful in pose and gesture. The figure is very still but movement is created by light. There is also a sense of perspective because of light creating depth and lines and shapes of shadow. Linear or atmospheric perspective is not present in The Penitent Magdalen. Magdalen appearing in front of part of the table also creates a sense of depth and space.
It is a characteristic of Georges de la Tour’s painting that he uses geometric forms to create and lay out, and also that there is a contrast with light and shadow. The moods of his works of art also seem to be meditative.*** Looking at other works by de la Tour can help you visualize and notice this, like in his other piece “Adoration of the Shepherds.”*** In technique, de la Tour’s painting is a very good representation of Caravaggesque painting with the dramatic use of light creating a crisp line of the separation of two figures (distinguishing the background from a figure with volume). The painting also might be displaying the same visual similarities as art of the Baroque style, embracing dynamism, theatricality, and elaborate ornamentation.***
The Penitent Magdalene seems to be a narrative painting, with a setting of figures relating to each other that decorate the setting with symbols. “Mary Magdalen is shown with a mirror, symbol of vanity; a skull, emblem of mortality; and a candle, that may stand for spiritual enlightenment. She is a sinner, maybe even a prostitute (but it is not known), where she was a witness of Christ who renounced the pleasures of the flesh for a life of penance and contemplation.”*** The scene is partially domestic, with the interior of a home or building of some sort.
Magdalen is represented here as the Saint Mary Magdalene from the area of the Sea of Galilee, and was known as “The Sinner.” One of her sisters, Martha, was a model of virtue and modesty going along with a religious theme as oppositely, Mary “abandoned herself to luxurious pleasures and became notorious for her extravagant lifestyle” (which is how she was known as the sinner throughout her country). Mary Magdalen did good deeds for Jesus and thought herself to be the wife of Jesus and pregnant with his child at the time of his death. She traveled much, moving with occurrences of the time, as she was also said to have spent long years in penance and ecstatic contemplation--which the painting’s narrative describes too. Mary Magdalen is often portrayed in grief because of loss, but was also sensuous and spiritual.***
Georges de la Tour combined techniques of Caravaggio and his own style into his oil painting of Mary Magdalen, as she is portrayed looking off into the distance away from the viewers. Emotion seems wondrous, as we are unable to see the exact expression upon her face. Color and symbols used and represented in the setting reveal a haunting (referencing the darkness and the skull) yet peaceful and meditative (the candlelight and her gesture) mood to the narrative. The painting represents the woman who was once a sinner, relating to maybe a specific time of Saint Mary Magdalen’s life.