Who painted Ascension of the Magdalene?

Ascension of the Magdalene was painted by Baldassare Franceschini in 1654.

Where can I see Ascension of the Magdalene?

Ascension of the Magdalene is held by National Gallery of Art.

What movement is Ascension of the Magdalene?

Ascension of the Magdalene is associated with Baroque.

Artwork

Ascension of the Magdalene

Baldassare Franceschini , 1654

Ascension of the Magdalene is a chalk drawing by the Baroque artist Baldassare Franceschini. It dates from 1654 and is held in the collection of the National Gallery of Art.

About this work

Overview

Baldassare Franceschini’s drawing titled *Ascension of the Magdalene* dates from around 1654. Executed in black chalk with white highlights on laid paper, the work depicts a female figure in the act of rising, surrounded by a host of angels and cherubic putti. The composition is rendered in a stark tonal range that emphasizes the upward movement of the central figure.

Subject & Meaning

The central figure represents Mary Magdalene at the moment of her spiritual ascent, her gaze lifted toward the heavens and arms outstretched in a gesture of devotion. Angelic beings and playful putti encircle her, suggesting divine assistance and the triumph of the soul over earthly bounds. The scene conveys themes of redemption and heavenly elevation common in Counter‑Reformation imagery.

Technique & Style

Franceschini employs a chiaroscuro approach, using dense black chalk to model form and white highlights to suggest illumination.

Franceschini employs a chiaroscuro approach, using dense black chalk to model form and white highlights to suggest illumination. The contrast creates a palpable sense of volume and spatial recession, while the laid‑paper surface adds a subtle texture that reinforces the drawing’s atmospheric depth. The handling of light and shadow demonstrates the artist’s skill in rendering three‑dimensionality within a monochrome medium.

History & Provenance

Created circa 1654, the drawing belongs to the later period of Franceschini’s career, when he was active in Florence and Rome. Although specific ownership records are scarce, the work has been documented in several scholarly catalogues of 17th‑century Italian drawings, confirming its attribution to the artist and its preservation within public collections.