Who painted Saint Mary Magdalene?

Saint Mary Magdalene was painted by Jacques Callot in 1632.

Where can I see Saint Mary Magdalene?

Saint Mary Magdalene is held by National Gallery of Art.

What movement is Saint Mary Magdalene?

Saint Mary Magdalene is associated with Baroque.

Artwork

Saint Mary Magdalene

Jacques Callot , 1632

Saint Mary Magdalene is an ink print by the Baroque artist Jacques Callot. It dates from 1632 and is held in the collection of the National Gallery of Art.

About this work

Overview

Around 1632, Jacques Callot, a printmaker from the Duchy of Lorraine, produced an etching on laid paper titled *Saint Mary Magdalene*. The work presents a solitary female figure in a reflective stance, set against a sparsely detailed rocky landscape that stretches toward a distant structure. The composition is rendered in monochrome, emphasizing line and texture over color.

Subject & Meaning

The central figure is the biblical Mary Magdalene, shown standing beneath a tree and clutching a small jar, a traditional attribute linked to her penitential narrative. Her simple attire, long hair, and serene expression convey a mood of contemplation and spiritual withdrawal, aligning with the saint’s role as a model of repentance.

Technique & Style

Callot employed the etching process, incising his design with a needle before treating the plate with acid to bite the lines. His use of sharp, precise strokes defines the texture of the woman’s hair and the bark of the tree, while the laid paper’s fine ribbing adds subtle tonal variation. The overall effect is one of quiet focus, devoid of extraneous ornamentation.

History & Provenance

Part of Callot’s prolific output—exceeding 1,400 prints—this piece reflects his interest in religious themes alongside his more extensive documentation of contemporary life. Though the original ownership trail is not fully recorded, the work is catalogued among his early 17th‑century prints and appears in several museum collections dedicated to baroque printmaking.

Context

Created during the Baroque period, the etching illustrates the era’s inclination toward dramatic yet intimate religious imagery. Callot’s Lorraine background placed him at a cultural crossroads, allowing him to blend French artistic sensibilities with broader European influences, evident in the detailed yet restrained landscape framing the saint.