40 - Attributed to José de Mora (Baza, Granada, 1642–Granada, 1724).

Attributed to José de Mora (Baza, Granada, 1642–Granada, 1724). “The Penitent Magdalene.” Late 17th–early 18th century. Carved, polychrome, and gilded wood. It has undergone some restoration. Exhibitions: From the Middle Ages to the Baroque: Spanish and European Sculpture. Ansorena Gallery, Madrid, June 8–July 13, 2021. Measurements: 152 x 80 x 79 cm. This Penitent Magdalene, attributed to José de Mora, dates from one of the most splendid periods of Baroque sculpture in Granada, when the artistic tradition of Alonso Cano and Pedro de Mena reached a new level of expressive and spiritual depth. The work stands out for its monumental scale, the sensitivity of its religious interpretation, and the richness of its gilded polychromy, which creates a striking ornamental effect. Its inclusion in the exhibition *From the Middle Ages to the Baroque: Spanish and European Sculpture*, held at the Ansorena Gallery in Madrid in 2021, marks a significant milestone in its exhibition history. The depiction of Magdalene as a penitent occupied a prominent place in 17th-century Spanish religious art, especially within the spiritual context of the Counter-Reformation. Considered one of the great models of repentance, conversion, and love for Christ, her figure allowed sculptors to create images of intense religious emotion. In contrast to depictions of Magdalene as a penitent in seclusion in the desert—often characterized by austerity and the renunciation of material goods—this sculpture features clothing of extraordinary richness, creating a striking contrast between the opulence of the attire and the saint’s profound spiritual experience. This distinctive feature links it to an iconographic tradition that emphasizes Magdalene’s inner transformation, without forsaking the visual elements characteristic of Baroque devotional sculpture. The attribution to José de Mora finds its primary stylistic basis in the emotional conception of the figure. The tilt of the head, the half-closed eyelids, and the slightly parted mouth reflect a sensibility particularly close to the artistic language developed by the Granada-born sculptor. His work is distinguished by a deeply introspective spirituality, far removed from the most emphatic theatrical gestures, in which religious sentiment is conveyed through expressions of contemplation and melancholy. These characteristics find parallels in some of his most representative works, including the Saint Pantaleon in the Church of San Gil and Santa Ana in Granada and the Saint Bruno at the Cartuja monastery in Granada—works that reflect his ability to imbue sacred figures with an intense inner life. Of particular interest is the treatment of the clothing, which introduces an ornamental dimension rarely seen in the more austere depictions of the Penitent Magdalene. The gilded decoration, composed of interlaced geometric motifs and Baroque-inspired plant elements, has hallmarks of sobriety in the skin tones and darkness in the hair. This technique highlights the importance of polychromy as an essential element of Spanish sculpture, where carving and painting were complementary disciplines intended to intensify both the naturalism and the emotional impact of the images. In this work, the richness of the polychrome decoration is not merely decorative: it helps establish a counterpoint between material beauty and the spiritual experience of penance. José de Mora was one of the leading figures in Spanish Baroque sculpture. Trained in the artistic milieu of Granada under the influence of Alonso Cano and Pedro de Mena, he developed a personal style characterized by elegant proportions, refined carving, and an exceptional sensitivity toward the expression of religious sentiments. His career garnered significant recognition at the court in Madrid, where he was appointed court sculptor to Charles II in 1672, before establishing himself in Granada. Among his most significant works are the Cristo de la Misericordia in the Church of San José in Granada; the depictions of the Ecce Homo and the Dolorosa; as well as the San Pantaleón in the Church of Santa Ana and the San Bruno in the Cartuja. In these works, Mora developed a style of imagery centered on the psychological depth of his figures, whose spirituality is expressed through restrained emotion—a trait that exerted a notable influence on later Granada sculpture. It has been restored. Work exhibited in: From the Middle Ages to the Baroque: Spanish and European Sculpture. Ansorena. Madrid.