Who painted Christ Appearing to Mary Magdalene?

Christ Appearing to Mary Magdalene was painted by German 15th Century in 1465.

Where can I see Christ Appearing to Mary Magdalene?

Christ Appearing to Mary Magdalene is held by National Gallery of Art.

What movement is Christ Appearing to Mary Magdalene?

Christ Appearing to Mary Magdalene is associated with Renaissance.

Artwork

Christ Appearing to Mary Magdalene

German 15th Century , 1465

Christ Appearing to Mary Magdalene is an ink print by the Renaissance artist German 15th Century. It dates from 1465 and is held in the collection of the National Gallery of Art.

About this work

Overview

This woodcut print, enhanced with hand-applied pigments in green, gray, olive, red lake and gold, portrays the biblical episode in which the risen Christ appears to Mary Magdalene. The image presents Christ in a brown robe, grasping a staff, while Mary kneels and looks upward toward him, set against a modest landscape featuring sparse vegetation and a distant structure.

Subject & Meaning

The composition captures a moment of intimate revelation, emphasizing the personal encounter between the resurrected Jesus and Mary Magdalene. The kneeling posture of Mary and her upward gaze convey reverence and astonishment, suggesting themes of faith, redemption, and the transformative impact of the resurrection narrative.

Technique & Style

Executed as a woodcut, the work relies on bold, clean lines and areas of flat color typical of the medium. Hand‑coloring adds subtle tonal variations: muted greens, grays, and olives dominate the scene, while red lake provides occasional accents and gold highlights introduce a hint of opulence, balancing simplicity with decorative detail.

History & Provenance

The print belongs to the tradition of early modern religious woodcuts, where hand‑coloring was employed to enhance visual appeal and devotional impact. Specific details about its creation date, workshop, or ownership lineage are not recorded in the available information.

Context

Such prints were commonly used for private contemplation or as illustrative material in devotional books. The restrained landscape and limited palette reflect a focus on the spiritual encounter rather than elaborate narrative settings, aligning with contemporary practices of emphasizing personal piety.