47 - A follower of GUIDO RENI (Calvenzano di Vergato, Bologna, 1575 – Bologna, 1642).

A follower of GUIDO RENI (Calvenzano di Vergato, Bologna, 1575 – Bologna, 1642). “Magdalene”. Oil on canvas. Measurements: 74.5 x 61.5 cm; 102 x 89 cm (frame). This work depicts Mary Magdalene through a composition of great simplicity and expressive intensity. Against a neutral background—which eliminates any sense of space and directs all attention toward the figure—the saint is depicted in bust format, with her face slightly raised and her gaze directed toward the heavens. Her expression, somewhere between contemplation and mystical rapture, conveys that moment of spiritual communion that Baroque painting made one of its most evocative motifs. Her long, loose hair, falling freely over her shoulders, is one of her principal iconographic attributes and reinforces the identification of the figure. The work finds a particularly significant point of reference in the work of Guido Reni (Bologna, 1575–1642), one of the leading exponents of Italian Baroque classicism. His interpretation of Mary Magdalene achieved extraordinary popularity during the 17th century and gave rise to numerous versions, replicas, and variations produced both by the artist himself and by his workshop. Among the compositions that allow for a comparison, *Saint Magdalene* (c. 1634–1635), housed in the National Gallery in London, stands out, as does the version titled *Sainte Magdalene*, which belongs to the French royal collections and is currently on loan to the Château de Versailles (inv. 529; MR 282; MV 7801). The latter, executed on copper, offers a particularly interesting insight into the prevalence of the Magdalene motif within Reni’s oeuvre. A comparison with these models reveals Reni’s extraordinary ability to transform a religious subject into an image of idealized beauty and profound spiritual intensity. Initially trained by Denys Calvaert in Bologna, the painter later enrolled in the Accademia degli Incamminati, founded by the Carracci family. His stay in Rome, which began in 1601, proved decisive for the consolidation of his artistic language, especially through his exposure to classical antiquity and the paintings of Raphael. Drawing on these influences, he developed a style characterized by harmonious compositions, idealized faces, and a formal elegance that would exert a notable influence on European painting.