Raffaello Sanzio’s Mary Magdalene has been Found!

By Annalisa Di Maria and Mark Anderson

The recent unveiling of a remarkable masterpiece by Raffaello Sanzio, depicting Mary Magdalene and dating back to 1505, has sent shockwaves through the art world. This extraordinary find, acquired by a discerning French private collector from a gallery, has rekindled the fervor surrounding Raphael’s genius. The astute gallery owner, with a discerning eye, purchased the painting at an auction, oblivious to the fact that the poplar board had been subtly mounted onto the back of a nineteenth-century Florentine-style parquet. This technique mirrored that of another Raphael masterpiece, the three Graces, housed at the Condé Museum. Interestingly, this newfound treasure originated from a private London collection, adding a layer of mystery to its storied past.

Renowned conservator and restorer, Nathalie Nolde of Chantilly, has lauded the artwork’s exceptional craftsmanship and finesse. A comprehensive study on this masterpiece was published in the esteemed scientific journal, “ISTE, OPEN SCIENCE, ARTS et SCIENCES,” boasting an editorial committee featuring luminaries such as Philippe Walter, Director of the CNRS and former Director of the Louvre laboratory, and Ernesto Di Mauro, Vice President of the European Interdisciplinary Committee of the Academy of Sciences.

Delving into the historical tapestry of Raphael’s Magdalene, scholars unearthed fascinating details. A notarial deed from 1565 confirmed its ownership by the Fontana family. Subsequently, this painting found its place in the 1623 inventory of Della Rovere’s collection and in the 1631 inventory of the Ducal Palace of Urbino. The painting’s journey then led to Florence, where it was included in an inventory of works transferred from Urbino. Intriguingly, another Magdalene, assumed to be a copy, surfaced in this transfer. The presence of Perugino’s Magdalene in the Villa del Poggio Imperiale’s 1654 inventory further complicates the narrative. Over time, attributions shifted, with Perugino’s work eventually attributed to Raphael, underscoring the intricacies of art historical assessment.

Raphael’s Mary Magdalene, a masterpiece measuring 46 cm x 34 cm, was presented at a prestigious conference in Marche, Italy. Experts such as Annalisa Di Maria, Dr. Andrea da Montefeltro, Professor Emeritus Jean-Charles Pomerol, and Mother Maria Cecilia Vicentin, Professor of Art History, illuminated the audience with their insights.

Scientific analyses of Raphael’s Magdalene revealed compelling evidence supporting its authenticity. The palette’s consistency with Raphael’s Florentine period, the use of translucent monochrome layers akin to Leonardo’s teachings, and the meticulous execution process mirrored Raphael’s known techniques. The study also identified the use of the spolvero method and showcased numerous repentances, particularly in the hands—a testament to the artist’s exceptional skill. These findings definitively affirm the rediscovered Mary Magdalene as the original work.

This breathtaking masterpiece not only underscores Raphael’s artistic brilliance but also sheds light on the collaborative and innovative spirit of the Renaissance art scene. As we marvel at this resplendent artwork, we are reminded of the enduring impact of these geniuses on the evolution of art and human creativity.

By Annalisa Di Maria and Mark Anderson

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