https://venice.dahvc.org/fall-2020/files/original/November_4_Gallerie_degli_Uffizi_or_Capodimonte_Museum/The_Penitent_Magdalene/SCALA_ARCHIVES_1039489004.jpg 910acd61d536e5fddb760d20eea6429e Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource November 4: Gallerie degli Uffizi or Capodimonte Museum Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Gallerie degli Uffizi, Florence and Capodimonte Museum, Naples, Italy Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Penitent Magdalene Creator An entity primarily responsible for making the resource Titian Source A related resource from which the described resource is derived Titian. c. 1533-35. Saint Mary Magdalene in Penitence, The Penitent Magdalen. painting. Place: Galleria Palatina. https://library.artstor.org/asset/SCALA_ARCHIVES_1039489004. Aikema, Bernard. "Titian's Mary Magdalen in the Palazzo Pitti: An Ambiguous Painting and Its Critics." Journal of the Warburg and Courtauld Institutes 57 (1994): 48-59. Accessed November 4, 2020. doi:10.2307/751463. Cole, Bruce. Titian And Venetian Painting, 1450-1590. N.p.: Taylor & Francis, 2018. "The Penitent Magdalene By Titian | Artworks | Uffizi Galleries". 2020. Uffizi.It. https://www.uffizi.it/en/artworks/saint-mary-magdalene. Publisher An entity responsible for making the resource available Artstor. Titian. c. 1533-35. Saint Mary Magdalene in Penitence, The Penitent Magdalen. painting. Place: Galleria Palatina. https://library.artstor.org/asset/SCALA_ARCHIVES_1039489004. Date A point or period of time associated with an event in the lifecycle of the resource 1533-35 Contributor An entity responsible for making contributions to the resource Rhea Niyyar Rights Information about rights held in and over the resource (c) 2006, SCALA, Florence/ART RESOURCE, N.Y. Format The file format, physical medium, or dimensions of the resource Oil on panel, 84 x 69.2 cm. Type The nature or genre of the resource Painting Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Pitti Palace, Florence, Italy Description An account of the resource In this painting, we see a penitent Mary Magdalene worshipping the heavens. Titian portrays Mary Magdalene realistically in multiple ways. First, with regards to the composition of the image, Titian places an ointment jar right next to her, providing a realistic scale for the viewer to use to estimate her size. Second, Titian, rather than using a uniform tone to represent Magdalene’s skin, makes her skin look fleshy, infusing pinks into her otherwise golden skin-tone. In addition, Titian layers the paints on her eyes, making them seem glossy and filled with tears, which adds emotion and expression to her face. In addition, Titian uses shadows to show the heavenly light being reflected on Magdalene, realistically creating shadows around the edge of her figure and adding emphasis for the viewer on the more realistic aspects of the painting, specifically her face. In addition, Titian layers gold in order to create texture in Magdalene’s hair, which is frizzy and adds dimension to the painting, making her seem more alive. Finally, nothing separates the viewer from Magdalene, the main character, creating a connection between God and the viewer, making the viewing experience more personal. Now, the question becomes why would Titian want to make Magdelene more realistic? First the lifelike nature of Magdalene’s portrayal enhances the sensuality of her appearance. Titian adds lots of femininity to the painting by using thick, concentrated brushstrokes and warm tones, highlighting the eyes, soaked in crystalline tears, and the copper blonde hair that covers her bare breasts [1]. In addition, Bruce Cole believes that Titian derived Magdalene’s pose from Venus Pudica, highlighting not only the Renaissance idea of relying on classicism but also the carnal nature of the painting [2]. Bernard Aikema speculates that the reason for this erotic portrayal of Magdalene was as a result of influence from the writings of Saint John Cassian. Cassian believed that temptation should be seen as a test for believers of Christ; therefore, Titian’s work served as a temptation for male viewers who had to overcome their temptations in order to view the religious nature of the work [3]. This realistic and erotic approach makes viewers have a religious and moral battle with themselves, thus increasing their connection with the painting and the significance of the religious scene to them. [1] "The Penitent Magdalene By Titian | Artworks | Uffizi Galleries," (2020), Uffizi.It. <a href="https://www.uffizi.it/en/artworks/saint-mary-magdalene">https://www.uffizi.it/en/artworks/saint-mary-magdalene. </a> [2] Bruce Cole, Titian And Venetian Painting, 1450-1590 (N.p.: Taylor & Francis, 2018), 113. [3] Bernard Aikema, "Titian's Mary Magdalen in the Palazzo Pitti: An Ambiguous Painting and Its Critics" in Journal of the Warburg and Courtauld Institutes 57 (1994): 48-59.