Mary Magdalene
Moretto da Brescia·1540–50
Historical Context
Moretto da Brescia's Mary Magdalene, painted in 1540-50, depicts the penitent saint in the mature style of this leading Brescian master. Moretto (Alessandro Bonvicino) was the most important painter in Brescia during the sixteenth century, known for his distinctive silver-gray palette and quiet, contemplative religious compositions. His images of female saints are characterized by a dignity and restraint that distinguish them from the more sensuous interpretations of Venetian painters.
Technical Analysis
Moretto's oil-on-canvas technique shows his characteristic cool, silver-gray palette with subtle chromatic refinement. The saint's figure is modeled with gentle chiaroscuro and the smooth, restrained brushwork that gives his religious paintings their distinctive atmosphere of quiet piety.
Provenance
Avogadro family, Brescia, by 1760, inventory after 1760, no. 82 [according to Chizzola and Carboni 1760, p. 179; and MS inventory, L.II.6 m.3, in the Biblioteca Queriniana, Brescia]; by descent to the Fenaroli family, Brescia, Palazzo Fenaroli-Avogadro, by 1820, [see catalogue of Fenaroli collection, 1820]; for relationship between the Avogadro and Fenaroli families, see Lechi, Fedrigolli, and Lechi 2010]; Bartolomeo Fenaroli (died 1869), Brescia, Palazzo Fenaroli-Avogadro, by 1869 [according to Lechi, Fedrigolli, and Lechi 2010, who cite the 1870 inventory of paintings owned by Bartolomeo made upon his death in 1869, l’Archivio Bettoni Cazzago, Brescia]; by descent to his son Gerolamo Fenaroli (died 1880), Brescia, Palazzo Fenaroli-Avogadro, from 1869 [according to Lechi, Fedrigolli, and Lechi 2010, who cite an inventory of paintings owned by Gerolamo made upon his death in 1880]; sold by his heirs in the auction of the Fenaroli collection, Brescia, April 16–19, 1882, either no. 3657 or no. 3661 [the auction catalogue is reproduced in Lechi, Fedrigolli, and Lechi 2010, pp. 66–71]. P. Scalvini Antiquario, Brescia, by 1898 [see da Ponte, 1898]. Thomas Humphry Ward, London [seller’s name given in an annotated copy of the 1904 sale catalogue at Christie’s, London referenced below]; sold Christie’s, London, May 14, 1904, no. 54, to Farrer for 100 gns [according to the annotated sale catalogued referenced above]; Sir William James Farrer (died 1911), Sandhurst Lodge, Wokingham, from 1904; sold Christie’s, London, March 23, 1912, no. 33, to Agnew for 200 gns [according to annotated copies of the sale catalogue at Christie’s, London]; sold by Agnew, London, to Charles Fairfax Murray, 1912 [information recorded in the ledger of Thomas Agnew and Sons, Ltd.]. F. Mason Perkins, Florence, by 1912 [according to a letter from F. Mason Perkins to T. J. Blakeslee dated December 5, 1912, in curatorial file]; sold by Perkins to T. J. Blakeslee (died 1914), New York, by February 23, 1914 [see letter cited above and Gombosi 1943, p. 111.]; sold to Vose Galleries, Boston, February 23, 1914 [according to Vose Galleries ledger, inventory no. 3611, Boston]; sold by Vose Galleries to William Owen Goodman, Chicago, February 5, 1917 [see letter from Robert C. Vose, Jr., to Margherita Andreotti dated May 12, 1988, in curatorial file; also Vose Galleries ledger cited above]; on loan to the Art Institute from 1928; given to the Art Institute, 1935.
