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The Magdalen Reading

Rogier van der Weydenbefore 1438

The National Gallery, London

The National Gallery, London
London, United Kingdom

A young lady in an extravagant green dress sits on the floor, reading. Although she wears fifteenth-century clothing and is in a medieval room, she is a biblical figure: Saint Mary Magdalene. The pot of oil with which she anointed Christ’s feet – the object traditionally associated with her – stands on the floor beside her casting a strong shadow. Her figure forms a semi-circle, with her head and legs curving around her bent knees, emphasising her absorption in her book.

This painting was originally the lower right corner of what must have been a large altarpiece of the Virgin and Child with saints, painted for a church in Brussels. You can see part of a man behind Mary while another kneels to the left; his toes poke out from under his voluminous red robe.

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  • Title: The Magdalen Reading
  • Creator: Rogier van der Weyden
  • Date Created: before 1438
  • Physical Dimensions: 62.2 x 54.4 cm
  • Medium: Oil on mahogany, transferred from another panel
  • School: Early Netherlandish
  • More Info: Explore the National Gallery’s paintings online
  • Artist Dates: about 1399 - 1464
  • Artist Biography: Rogier van der Weyden was one of the most profound and influential painters of the 15th century. He was internationally famed for the naturalism of his detail and his expressive pathos. He created a range of types - for portraits and for religious subjects - which were repeated throughout the Netherlands, the Iberian peninsula, and even Italy, until the mid-16th century. Rogier van der Weyden was apprenticed to Robert Campin in Tournai from March 1427 to August 1432. He soon equalled his master and was later to influence Campin's work. In 1435 he was made painter to the city of Brussels. In 1450 he may have travelled to Rome. He worked for Philip the Good, Duke of Burgundy, and for foreign princes, as well as for the city and church. Among his greatest works is a powerful 'Descent from the Cross' (Madrid, Prado), which helps us to imagine the impact of the whole altarpiece of which 'The Magdalen Reading' is a fragment. The Gallery has several of his smaller religious works. The uneven quality of these raises the issue of workshop collaboration.
  • Acquisition Credit: Bought, 1860
The National Gallery, London

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