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John Michael Wright (May 1617 – July 1694) [2] was an English painter, mainly of portraits in the Baroque style. [3] Born and raised in London, Wright trained in Edinburgh under the Scots painter George Jamesone , and sometimes described himself as Scottish in documents.
The Penitent Magdalene is a painting of saint Mary Magdalene by Titian dating to around 1531, signed 'TITIANUS' on the ointment jar to the left. It is now in the Sala di Apollo of the Palazzo Pitti in Florence, Italy.
AMFPA was founded in 1957 as the Vereinigung der Mund- und Fussmalenden Künstler in aller Welt, e. V. (VDMFK), [1] in Liechtenstein.It was styled a "self-help" organization and had the scope to further the painting skills of any mouth or foot painter, to promote their artwork and to support them financially.
Photo of John Michael Rogers. John Michael Rogers, FBA, FSA (1935 – 25 December 2022) was a British art historian who was an expert in Islamic art history. He was Khalili Professor Emeritus of Islamic Art at SOAS, University of London from 1991 and a published author. In his later years, he was Honorary Curator of the Nasser D. Khalili ...
The painting represents a departure from the standard paintings of the penitent Mary Magdalene of Caravaggio's day, both in portraying her in contemporary clothing and, in the words of biographer John Varriano (2006), avoiding "the pathos and languid sensuality" with which the subject was generally treated. [3]
Though the "Penitent Magdalene" was the usual depiction for the many single figures of Mary Magdalene in art, Donatello's gaunt, emaciated figure differs greatly from most depictions, which show a beautiful young woman in nearly perfect health. The Magdalene Penitent is famous for the detailed and very realistic carvings on the statue.
The Magdala stone is a carved stone block unearthed by archaeologists in the Migdal Synagogue in Israel, dating to before the destruction of the Second Temple in Jerusalem in the year 70. It is notable for detailed carvings depicting the Second Temple , carvings made while that Temple still stood and therefore assumed to have been made by an ...
[Michael] is always represented by the ecclesiastical Byzantine painters as a young warrior of surpassing beauty, standing on the body of an old dead man, with wings expanded, and holding a flaming sword in his right, and a pair of scales in his left hand, in order to show that with the first he took his soul, and with the second he weighs the ...