Mary Magdalene in Ecstasy

Following the death of Jesus Christ, Mary Magdalene retreated to a life of solitude and quiet penitence, communing privately with God through prayer. This period in life was a favourite subject of artists of the Renaissance, but it was Gentileschi who brought it to life. Her saintly attributes, an ornament jar, crucifix, and skull, that were traditionally included to help the viewer identify the subject are gone. She is not in a state of penitence or atonement, but in a moment of overwhelming ecstasy, taken with the spirit of God she enters into a deeply personal and powerful moment. Gentileschi brings her close to us, almost voyeuristically, to that we are in the room with her during this quiet moment. It is sensual, her bare skin exposed, and the work of a female painter, rare in the time of the Renaissance, is clear in her deft handling of the folds of skin and the strength of passion she feels, that never moves into eroticism. Gentileschi brings a private movement with God into the public, and does so in a way that feels relatable, familiar to us the viewer, thus encouraging us to lose ourselves in ecstasy with a higher power.