Lot 1030 Dα

Deeply moved, Mary Magdalene emerges from the darkness of a cave. Semi-recumbent, the hermit leans slightly to her right on a stone on which the attributes of her meditation exercises are presented. She holds the crucifix close to her face and half uncovered upper body, almost embracing it, touching the skull beneath, in front of which are a scourge and a clear glass of ointment. The diagonal placement of the body, running from top left to bottom right, is emphasised by the flash of bright light and the long crucifix touching her left thigh. Such elements serve to give the composition a theatrical quality, placing Magdalena's compassion and sadness in focus, in accordance with the guidelines of the Counter-Reformation. Caravaggio's teachings are the explicit reference for this composition, which is characterised by an effective use of chiaroscuro.

In 1997, Gianni Papi identified a so-called "Master of the Incredulity of St Thomas" and attributed a group of Caravagggesque paintings to him. Thanks to later archival findings by Francesca Curti, this figure could be linked to the painter Bartolomeo Mendozzi from the small town of Leonessa, near Rieti, who was active in Rome between ca. 1620 and 1640. In 2022, the present painting was published in Massimo Pulini's monograph, together with another, previously known version from the National Museum in Stockholm.