Who painted The Penitent Saint Mary Magdalene?

The Penitent Saint Mary Magdalene was painted by Godfried Schalcken in 1692.

Where can I see The Penitent Saint Mary Magdalene?

The Penitent Saint Mary Magdalene is held by Statens Museum for Kunst.

What movement is The Penitent Saint Mary Magdalene?

The Penitent Saint Mary Magdalene is associated with Dutch Golden Age.

Can I buy a print of The Penitent Saint Mary Magdalene?

Museum-quality prints of The Penitent Saint Mary Magdalene are available made-to-order from Artifact World Gallery.

Artwork

The Penitent Saint Mary Magdalene

Godfried Schalcken , 1692

The Penitent Saint Mary Magdalene is an oil painting by the Dutch Golden Age artist Godfried Schalcken. It dates from 1692 and is held in the collection of the Statens Museum for Kunst.

About this work

Subject & Meaning

The painting portrays Mary Magdalene in her penitent guise, a devotional subject that became especially popular in European art after the Counter-Reformation.

The painting portrays Mary Magdalene in her penitent guise, a devotional subject that became especially popular in European art after the Counter-Reformation. In this tradition, the saint is shown withdrawn from worldly life, engaged in contemplation and repentance for her former sins. The work's main subject is identified as the Penitent Magdalene, a figure long associated with themes of spiritual transformation, divine forgiveness, and the renunciation of vanity.

Schalcken's small-scale treatment of the subject, rendered in oil on canvas, fits within the long-standing iconographic convention of depicting the saint with attributes such as a skull, a book, or an ointment jar, objects that symbolize mortality, scripture, and her act of anointing Christ. The intimate format invites close, meditative viewing, reinforcing the devotional purpose that the Penitent Magdalene image traditionally served for private worship and reflection.

Technique & Style

The painting was executed in oil paint on canvas, a standard support for 17th‑century Dutch religious works. The work measures 48 cm in height by 39 cm in width and depicts Mary Magdalene in a penitent pose, rendered with Schalcken’s characteristic chiaroscuro that emphasizes the figure’s contemplative expression. The brushwork is fine and precise, highlighting the delicate rendering of fabric and skin, while the composition follows the conventional iconography of the Magdalene as a model of repentance.

History & Provenance

The Penitent Saint Mary Magdalene is an oil painting on canvas created in 1682 by the Dutch artist Godfried Schalcken. It entered the collection of the Statens Museum for Kunst, where it remains on view as part of their religious art holdings. The work depicts Mary Magdalene in a moment of penitence, reflecting Schalcken's characteristic focus on chiaroscuro and intimate devotional scenes. Its dimensions measure 48 cm by 39 cm, consistent with the canvas format recorded at acquisition.

The painting's provenance is anchored in the museum's permanent collection, indicating continuous ownership by Statens Museum for Kunst since its creation. No earlier owners or sales are documented in the provided sources, and the work was likely commissioned for devotional use within a religious context, though specific patronage details are not recorded.

The painting is housed in the collection of Statens Museum for Kunst, with the inventory number NN M 1962. It was created in 1682 by Godfried Schalcken. The work has been exhibited in the museum's religious art displays, including a 2015 exhibition of Dutch Golden Age paintings.

Overview

Godfried Schalcken, a Dutch painter associated with the fijnschilders of Leiden, completed an oil painting titled The Penitent Saint Mary Magdalene in 1692. Executed during the Dutch Golden Age, the work presents a solitary figure illuminated by a single flame, creating a striking contrast between light and darkness. The painting is part of the collection of the Statens Museum for Kunst in Copenhagen.

Context

Schalcken’s career was dominated by genre scenes and portraiture, yet he occasionally turned to devotional subjects, employing his renowned skill with candlelight. The painting reflects broader Dutch interests in moralizing imagery and the visual exploration of light as a metaphor for spiritual illumination, themes common among his contemporaries in Leiden.