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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.

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Louvre puts the spotlight on the treasury of Notre Dame

From October 19, 2023, to February 19, 2024, the Louvre presents the exhibition “The treasury of Notre Dame Cathedral from its origins to Viollet-Le-Duc”

Source: Louvre · Image: Cathédrale Notre-Dame Trésor. Photo by Alexander Baranov from Montpellier, France. License Creative Commons Attribution 2.0 Generic. Retrieved from https://commons.wikimedia.org/wiki/File:Paris_(75004)_Cath%C3%A9drale_Notre-Dame_Tr%C3%A9sor_03.jpg

The temporary exhibition rooms in the Richelieu wing host a show devoted to the treasury of Notre Dame Cathedral, from its beginnings to its high point during the Second Empire, (1852–1870) thanks to Viollet-Le-Duc’s efforts. The cathedral treasury had to be entirely reassembled following the French Revolution. Today it is famous for the remarkable relics it contains, notably the Crown of Thorns and a fragment of the True Cross originally held in the treasury of the Sainte-Chapelle but transferred to new reliquaries at Notre Dame under Napoleon I (1804–1814). The cathedral treasury is also famous for splendid masterworks of French precious metalworking collected in the nineteenth century, in particular ones designed by Viollet-Le-Duc during the Second Empire, providing extraordinary testimony to the history of Notre Dame as well as the history of France.

For the first time, however, the exhibition also seeks to go back in time, exploring the history of the treasury prior to the French Revolution. Inventories, historic accounts, paintings, illuminated manuscripts, prints and other illustrated documents, along with several surviving pieces, will trace part of the long story of Notre Dame’s treasury starting from the Merovingian era. It offers a glimpse of a lavishness that rivalled even the dazzling objects made for Notre Dame in the nineteenth century.

Featuring roughly one hundred items, the exhibition thereby tells the story of the treasury of the cathedral of Paris and its resurrection in the nineteenth century, all set in the context of its age-old history. Curators: Jannic Durand, honorary director of the Department of Decorative Arts, Musée du Louvre; Anne Dion-Tenenbaum, Michèle Bimbenet-Privat and Florian Meunier, curators in the Department of Decorative Arts, Musée du Louvre.

Pace will feature a work by the Berlin-based sculptor at Paris + and stage a solo show of her work in Los Angeles in 2024