A Masterpiece Rediscovered: The Kimbell’s Acquisition of Artemisia Gentileschi’s “Penitent Mary Magdalene”
In a remarkable turn of events, the Kimbell Art Museum in Fort Worth, Texas, has announced the acquisition of a long-lost Artemisia Gentileschi painting that has been tucked away from public view for nearly four centuries. The work, titled “Penitent Mary Magdalene,” is now on display at the museum, offering art enthusiasts a rare opportunity to experience this captivating Baroque masterpiece.
Artemisia Gentileschi, one of the most renowned Italian artists of the 17th century, is celebrated for her powerful depictions of strong-willed female figures. Her work has gained increased recognition in recent years, thanks to the efforts of feminist scholars who have shed light on the unique perspective and artistry she brought to the male-dominated art world of her era.
The Rediscovery of a Hidden Gem
“Penitent Mary Magdalene,” created around 1625-1626, is a striking example of Gentileschi’s talent. The painting, which portrays a tender, introspective scene of the biblical figure, had been largely hidden from public view since the 17th century. After passing through the hands of various private collectors, the work resurfaced at a Paris auction in 2001, where it was offered as a piece from Gentileschi’s studio.
However, in 2021, art historian Jesse Locker published research in Apollo Magazine that confirmed the painting’s authorship, citing evidence such as the distinctive treatment of the lace and drapery, as well as the presence of subtle revisions, or pentimenti, that are characteristic of Gentileschi’s own hand.
The Significance of the Acquisition
“The Kimbell has long wished to acquire a work by Artemisia Gentileschi but until now never found the right painting for its collection by this major figure of Italian Baroque art,” said Eric Lee, the director of the Kimbell Art Museum, in a statement. “We are thrilled to present Artemisia Gentileschi’s dazzling ‘Penitent Mary Magdalene’ to the public for the first time since it was painted in the seventeenth century.”
The acquisition of this long-lost Gentileschi painting is a significant addition to the Kimbell’s collection, which already boasts impressive works by other renowned Italian artists of the Baroque era, such as Caravaggio’s “Cardsharps” and Guercino’s “Christ and the Woman of Samaria.” The museum’s decision to showcase “Penitent Mary Magdalene” alongside these masterpieces further solidifies Gentileschi’s place among the great artists of her time.
Exploring the Painting’s Unique Qualities
“Penitent Mary Magdalene” is a captivating work that exemplifies Gentileschi’s distinctive style and her ability to imbue her subjects with a sense of emotional depth and interiority. The painting depicts the biblical figure of Mary Magdalene in a moment of introspection, her head resting on her hand as her sleeve falls gently off her shoulder, symbolizing her disavowal of the vanity and materialism of her past life.
The composition is characterized by a bold design and delicate brushwork, with subtle variations in light and shadow that create a sense of intimate contemplation. The work is known to have been copied by numerous other artists over the centuries, but as the Kimbell’s director noted, “nothing compares with seeing the newly rediscovered, emotive original in person.”
The Legacy of Artemisia Gentileschi
Artemisia Gentileschi’s remarkable career and personal journey have made her a fascinating figure in art history. As a woman working in a field dominated by men, she faced numerous challenges, including a highly publicized rape trial in which she was subjected to torture to prove the truthfulness of her testimony.
Despite these obstacles, Gentileschi went on to achieve remarkable success, earning the patronage of influential figures across Europe, including Cosimo II de’ Medici, Grand Duke of Tuscany, and King Charles I of England. Her work, which often focused on strong female protagonists, is now widely recognized as a pioneering example of proto-feminist art.
The Kimbell’s acquisition of “Penitent Mary Magdalene” not only adds a significant work to its collection but also shines a spotlight on Gentileschi’s enduring legacy and the ongoing efforts to celebrate the contributions of underrepresented artists in the canon of Western art.
Exploring the Painting’s Provenance and Conservation
The story of “Penitent Mary Magdalene” is as intriguing as the work itself. The painting was commissioned by Fernando Enríquez Afán de Ribera, the third Duke of Alcalá and Viceroy of Naples, during his time as the Spanish ambassador in Rome. Gentileschi completed the work shortly after one of her best-known paintings, “Judith and Her Maidservant with the Head of Holofernes,” which is now in the collection of the Detroit Institute of Arts.
After the Duke of Alcalá’s death in 1637, the painting was passed down to his heirs and eventually disappeared from public view, with little documentation of its whereabouts until it resurfaced at a Paris auction in 2001. At the time, it was offered as a work from Gentileschi’s studio, but the high price it fetched – far exceeding the initial estimate – suggested that bidders suspected it might be an autograph work by the artist herself.
Uncovering the Painting’s Authenticity
In 2021, art historian Jesse Locker’s research in Apollo Magazine helped confirm the painting’s authorship. Locker identified several key details that pointed to Gentileschi’s hand, including the “subtle interaction of light and shadow in the treatment of the Magdalene’s neck” and “the treatment of lace, which bends and curves under at irregular intervals, and especially in the portrayal of drapery with its neatly constructed and deliberately variegated shadows and highlights.”
Additionally, the presence of two visible pentimenti, or revisions made by the original artist, on the contour of the neck and the right arm, provided further evidence that this was an original work by Gentileschi and not a copy.
The Painting’s Conservation and Restoration
When the painting resurfaced in 2001, it was quite dirty, and at some point, an artist had added some clumsy overpainting to cover Mary’s upper breast and armpit, likely out of prudishness. Fortunately, these additions were easily removed during the painting’s conservation, and the Kimbell Art Museum believes that the work has had very little intervention over the centuries.
One remarkable feature of the painting is that it is still mounted on a rare surviving 18th-century strainer, an auxiliary support that is affixed at the painting’s corners, typically with nails, screws, or glue. This type of strainer is unusual, as most have been replaced over the years with stretchers as paintings become slack and sag in their frames.
The Significance of the Painting’s Rediscovery
The Kimbell’s acquisition of “Penitent Mary Magdalene” is a significant event, not only for the museum but also for the art world at large. The painting’s rediscovery and attribution to Gentileschi add to the growing appreciation and understanding of this pioneering artist’s oeuvre.
As Eric Lee, the Kimbell’s director, stated, “Although the composition is well known through copies in Spain and Mexico, nothing compares with seeing the newly rediscovered, emotive original in person, with its bold design, delicate brushwork, and subtle variations of light and shadow.” The museum’s decision to showcase this masterpiece alongside other Baroque works in its collection further reinforces Gentileschi’s place among the greatest artists of her era.
The Enduring Legacy of Artemisia Gentileschi
Artemisia Gentileschi’s remarkable life and artistic achievements have captured the attention of art historians and the public alike in recent years. Once relegated to relative obscurity, her work has undergone a remarkable renaissance, with a surge of interest and renewed scholarship that has elevated her status as a trailblazing figure in the history of art.
Gentileschi’s Pioneering Perspective
Gentileschi’s paintings, which often depict strong-willed female protagonists, are increasingly recognized as proto-feminist works that offer a unique perspective on the lived experiences of women in the 17th century. Her depictions of biblical and mythological figures, such as Judith, Susanna, and Mary Magdalene, are imbued with a sense of emotional depth and psychological complexity that was often lacking in the works of her male contemporaries.
Gentileschi’s own personal story, which includes the harrowing experience of being raped by her teacher Agostino Tassi and the subsequent trial in which she was subjected to torture to prove the truthfulness of her testimony, has also contributed to the growing interest in her life and work. Her resilience and determination in the face of such adversity have made her a compelling figure in the ongoing conversations around gender, power, and representation in the arts.
The Rise of Gentileschi’s Market Value
Gentileschi’s renewed popularity has also been reflected in the soaring value of her paintings at auction. In 2014, her work “Bathsheba at Her Bath” set a then-record at Sotheby’s London, selling for £602,500 ($945,988). Since then, eight of her paintings have sold for over $2 million, including the recent sale of “Allegory of Sculpture” at Christie’s London for $1.86 million ($2.36 million) in 2023.
The artist’s current auction record stands at €4.8 million ($5.28 million), set at Paris’s Artcurial in 2019 for the painting “Lucretia,” which was later acquired by the J. Paul Getty Museum in Los Angeles. These impressive sale prices are a testament to the growing recognition and appreciation of Gentileschi’s artistic genius and the lasting impact of her work.
The Kimbell’s Acquisition and Its Significance
The Kimbell Art Museum’s acquisition of “Penitent Mary Magdalene” is a significant addition to the growing body of Gentileschi’s work in museum collections around the world. In recent years, other prestigious institutions, such as the Wadsworth Atheneum Museum of Art, the National Gallery in London, and the Getty Museum, have also made high-profile acquisitions of her paintings, further solidifying her place in the canon of Western art.
The Kimbell’s decision to showcase “Penitent Mary Magdalene” alongside other masterpieces of the Baroque era underscores the museum’s commitment to celebrating the contributions of underrepresented artists and ensuring that Gentileschi’s remarkable legacy is recognized and celebrated by art enthusiasts and scholars alike.
As the Kimbell Art Museum’s director, Eric Lee, eloquently stated, “We are thrilled to present Artemisia Gentileschi’s dazzling ‘Penitent Mary Magdalene’ to the public for the first time since it was painted in the seventeenth century.” This momentous acquisition not only adds a stunning work to the museum’s collection but also shines a spotlight on the enduring impact of Gentileschi’s art and the continued efforts to elevate the voices of pioneering women artists in the annals of art history.
