The Magdalen Reading

The Magdalen Reading: A Masterpiece by Rogier van der Weyden

Imagine stepping into a world where art and history intertwine, where every brushstroke tells a story. The Magdalen Reading, a mid-15th-century oil-on-panel altarpiece by the renowned Flemish artist Rogier van der Weyden, is one such masterpiece. This piece, part of three surviving fragments, captures Mary Magdalene as a contemplative figure, absorbed in reading from a holy book with her head tilted and eyes modestly averted.

The Background and Rediscovery

Originally part of a larger sacra conversazione, the Magdalen Reading was rediscovered in the early 19th century. Now housed at the National Gallery in London, it is considered one of van der Weyden’s most important early works. The background had been overpainted, but cleaning revealed additional figures, including Saint Joseph and Saint Catherine of Alexandria.

Details and Artistic Techniques

The panel depicts Mary Magdalene sitting on a red cushion, resting her back against a wooden sideboard, with an alabaster jar by her feet. The background features a distant canal, an archer, and a figure walking on the other side of the water. Van der Weyden’s use of texture and light creates a sense of realism, while the level of detail exceeds that of Jan van Eyck. However, some areas of the panel are described as dull and uninspired, including the floor and cupboard behind her.

The Fragmented History

Interestingly, the original altarpiece was broken into at least three pieces before 1811, possibly due to damage. The black overpaint was added after the early 17th century. The Magdalen Reading fragment is in good condition, while the size of the surviving panels suggests that the original altarpiece was at least 1m high by 1.5m wide.

The Other Fragments and Related Works

A small female head panel in Lisbon, believed by some to represent Saint Catherine of Alexandria, is linked to the altarpiece due to similarities in its clothing and background. However, some art historians have questioned this link due to inconsistencies in the mouldings of the window frames in the two panels.

The Stockholm Drawing

A drawing in Stockholm’s Nationalmuseum, Virgin and Child with Saints, is believed to be a study of a portion of the original altarpiece by a follower of van der Weyden. The drawing shows various figures, including saints John the Baptist, Virgin, Christ Child, and John the Evangelist.

The Iconography: Reading as Devotion

Van der Weyden’s depiction of Magdalen is based on Mary of Bethany, who was identified as the repentant prostitute. The image of Magdalen reading or writing became associated with weeping, contemplation, and devotion in Early Renaissance art. Reading was seen as a withdrawal from public view, reflecting the increasing literacy of domestic women in the mid-15th century.

Symbolism and Significance

The Magdalen’s devotion to reading reflects her traditional status as piously repentant harlot and prophetess or seer. She signifies the ‘sacrament of anointing (Chrism and Unction)’ by pouring precious spikenard on Christ’s feet at his tomb. The altarpiece was painted between 1435 and 1438, likely after van der Weyden’s appointment as painter to the city of Brussels in 1435.

The Journey of a Masterpiece

The Magdalen Reading has undergone several changes over the years. It was transferred from oak to mahogany panel between 1828 and 1860, and its background was overpainted with plain brown before being cleaned in 1955. The National Gallery acquired the altarpiece in 1860, along with other works by van der Weyden and his contemporaries.

Current Status

The painting is currently part of the National Gallery’s collection, but several of its components have been separated or reattributed over time. The heads remain on their original oak panels, while the Stockholm drawing was bequeathed to the Swedish National Museum of Fine Arts in 1918.

The Magdalen Reading is more than just a painting; it’s a window into the past, a testament to the skill and vision of Rogier van der Weyden. As we gaze upon this masterpiece, we are reminded of the power of art to tell stories that transcend time.