Giacomo Balla, Salutando, 1908

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Giacomo Balla, Salutando, 1908
Antonio Ciseri, Mary Magdalene, c.1870
Guido Cagnacci - Maddalena penitente, 1626-1627
quel rossore sulle guance e quell'espressione soddisfatta la dicono lunga…
William Merritt Chase, A Modern Magdalene (1888).
Mateo Cerezo, Magdalena, 17th century
Giovanni Bellini - Madonna and Child with Saint Catherine of Alexandria and Mary Magdalene. 1490
Piero di Cosimo, Saint Mary Magdalene Reading, 1490s
Saint Mary Magdalene reading, at a table with fruit and a golden tazza. Workshop of The Master of the Parrot (active Antwerp 1525-50). Oil on panel.
Saved from: www.pinterest.com
Artemisia Gentileschi - The Conversion of the Magdalene. The Penitent Mary Magdalene. 1615 - 1616
Master of 1518 - Mary Magdalene. 1524 - 1526
Saint Mary Magdalene before a curtain supported by angels in an architectural niche, The Master of the Parrot
Penitent Magdalene (detail) by Domenico Tintoretto, c. 1598-1602.
Summer Warmth - Jeff Bellerose
American, b.1973
Oil on canvas, 20.5 x 15in
Cagnaccio di San Pietro (It. 1897-1946) La Ragazza e lo Specchio (1932)
Felice Casorati
Master of the Legend of the Magdalen, The Magdalen Weeping, circa 1525, oil on oak panel, National Gallery, London.
Sofonisba Anguissola (1532-1625) “Self-portrait at the easel” (1556) Oil on canvas Renaissance Located in the Łańcut Castle, Łańcut, Poland
Anguissola was an Renaissance painter born in Cremona to a relatively poor noble family. She received a well-rounded education, that included the fine arts, and her apprenticeship with local painters set a precedent for women to be accepted as students of art. As a young woman, Anguissola traveled to Rome where she was introduced to Michelangelo, who immediately recognized her talent. The Spanish queen Elizabeth of Valois was a keen amateur painter, and in 1559 Anguissola was recruited to go to Madrid as her tutor, with the rank of lady-in-waiting. She later became an official court painter to the king, Philip II. After the queen’s death, Philip helped arrange an aristocratic marriage for her. She moved to Sicily, and later Pisa and Genoa, where she continued to practice as a leading portrait painter, living to the age of ninety-three.