Mary Magdalen 1750 - 1770

Curator: Looking at Violante Vanni’s engraving, “Mary Magdalen,” made sometime between 1750 and 1770 after a work by Guercino, I’m immediately struck by its… dramatic, almost operatic feel. What grabs you? Editor: It’s stark. The greyscale, the almost painful contrast between light and shadow… It communicates the depth of grief and contrition the subject, Mary Magdalen, embodies here. Curator: Absolutely. Vanni really captures the drama, doesn't she? We have Magdalen emerging from a dark cave, half-draped, a very baroque nude, really, gazing upwards. The eye is drawn upwards to Christ on the cross – a detail I almost missed at first because it’s tucked away in that upper left corner. Editor: Precisely. The composition is deliberate. Magdalen's body creates a diagonal line that intersects with the vertical of the cross, setting up a visual dynamic that speaks to sacrifice and redemption. It’s a semiotic playground of faith, remorse, and acceptance. Curator: Right, and the choice of engraving as a medium. There’s something so immediate and raw about the lines; Vanni does so much with tone, transforming what might seem minimal, monochromatic and somewhat limited, into an exploration of light, flesh, and fabric! Editor: Engraving allows for such controlled detail. Consider the subtle gradations in the shading on her skin or in the cloth she clutches—it's technically brilliant and serves to intensify the emotional resonance. It highlights her vulnerability in the face of, well, everything. The artist makes us want to think, but even more, to feel. Curator: To me, she looks lost, but hopeful. There’s that vulnerability you pointed out, but something transcendent too, as though seeing past this earthly pain, which seems entirely in character. After all, tradition positions her at the foot of the cross! Editor: Yes, the gaze—so central to understanding her internal state. Vanni emphasizes a sort of internal conflict, perhaps even resolution. In this one captured moment, the essence of conversion reveals itself as pure dramatic art! Curator: I think the way Vanni highlights not only her sadness, but her faith is a true demonstration of Baroque themes, it’s a very intimate and intense scene, and certainly worth the trip to the Met to experience it in person. Editor: A masterclass, I must agree! An amazing and intense dialogue about morality using only shadows, light, and well-placed lines!