Kimbell Art Museum in Fort Worth has acquired a recently discovered painting that's very very old: Called Penitent Mary Magdalene, it was painted by Artemisia Gentileschi in the 17th century and will be on display at the museum starting September 6.

The painting is a famous and often-copied masterpiece that has remained in private collections since its creation around 1625–26. It will be on view in the Kimbell’s Louis I. Kahn Building.

Kimbell Art Museum director Eric Lee says in a release that there is nothing like seeing the real thing.

"Although the composition is well known through copies in Spain and Mexico, nothing compares with seeing the newly rediscovered, emotive original in person, with its bold design, delicate brushwork, and subtle variations of light and shadow," Lee says. "The Kimbell has long wished to acquire a work by Artemisia Gentileschi but until now never found the right painting for its collection by this major figure of Italian Baroque art. We are thrilled to present Artemisia Gentileschi’s dazzling Penitent Mary Magdalene to the public for the first time since it was painted in the seventeenth century."

The painting was created soon after Artemisia’s masterpiece Judith and Her Maidservant with the Head of Holofernes (c. 1623–25, Detroit Institute of Arts) and is said to represent the artist at her finest.

Some facts about the painting:

• It's an imposing canvas about three-and-a-half by three feet (42 3/4 inches by 36 3/4 inches)
• It was was acquired (and possibly commissioned) by Fernando Enríquez Afán de Ribera, the third Duke of Alcalá and Viceroy of Naples, while he was serving as Spanish ambassador in Rome (1625–26)
• It was later displayed in his residence, the Casa de Pilatos, in Seville, where, according to 17th-century Spanish sources, it became famous and was widely copied

Despite its fame, the original painting subsequently disappeared. Notable copies include canvases today in Seville Cathedral and the Museo Soumaya in Mexico City.

A favorite subject
Inspired in part by Caravaggio’s groundbreaking paintings featuring Mary Magdalene—notable for the artist’s startling realism, dramatic contrasts of light and shadow, and use of live models—Artemisia revisited the subject throughout her career. Her exploration of different key moments in the narrative of Mary Magdalene demonstrates Artemisia’s remarkable ability to express the saint’s spirituality through the intense physicality of the female figure.

What's in the painting
In the Kimbell painting, Mary Magdalene’s languid body has settled into an ornate high-backed chair. Her right arm is propped on the armrest to support her tilted head, with a deep shadow under her extended neck and chin; her cheek rests on her limp hand, which is bent sharply at the wrist. The Magdalene’s left arm sinks downward, her hand falling into her open lap.

In the shadows, an ointment jar and a small, black-framed hand mirror lie on a table. These discarded items, along with her gold gemstone bracelet and large pearl earring, identify her as the repentant saint who renounces her former life of luxury and vanity. As she closes her eyes, she reflects on the weight of her sinful past, vowing her devotion to Christ. Seemingly unmindful of her appearance, she casts away her riches and enters a spiritual realm, the beribboned strap of her bodice falling behind her and the lace-trimmed chemise revealing her left shoulder in a pool of light.

Technique
The composition is enlivened by a delicate play of light and shadow, captured in Artemisia’s deft brushwork, describing the Magdalene’s flesh, hair, and clothing. The painting’s warmth emanates from the red ground that interplays with the lively and at times bold brushwork, particularly in the white billowing sleeve of the chemise.

Among the most tender passages are the flushed tonalities of her swollen eyes, nose, and lips, and the waving strands of auburn locks delicately enlaced around her fingers. A sheer, tawny brown veil twists elegantly from her shoulder, commingling with her hair and yellow ocher gown.

Context
In the wake of Caravaggio’s innovative realistic style, the sensuality of Artemisia’s painting not only conveys the story of Mary Magdalene, but also exploits the power of art to connect intimately with the viewer. In contrast to some of Artemisia’s more violent narratives of forceful, heroic women, such as Judith and Lucretia, the Kimbell Magdalene captures an introspective moment of contrition and reflection, intense in its spiritual power.

The condition and history
The remarkable condition of the Kimbell painting suggests limited conservation intervention over its centuries-old existence, exemplified by the rare retention of its 18th-century strainer. Following the death of the third Duke of Alcalá, the painting remained with his heirs in Seville until it disappeared from public record before reappearing at auction in 2001 in France. It was sold into a private collection and remained there until it was purchased by Adam Williams Fine Art, Ltd., New York, on behalf of the Kimbell in 2024. The painting will join other Italian masterpieces of the era in the museum’s collection, including Caravaggio’s Cardsharps (c. 1595) and Guercino’s Christ and the Woman of Samaria (c. 1619–20).

About Artemisia
Artemisia Gentileschi (1597–1654 or later) was one of the most important and accomplished 17th-century Italian painters and an iconic model of perseverance, resolve, and achievement despite the numerous personal and professional obstacles she faced as a woman. She was trained in Rome in the studio of her father, Orazio Gentileschi (1563–1639), who had adopted the revolutionary style of his friend Caravaggio.

In spite of various setbacks and challenges, including the early death of her mother; the arduous trial and testimony of her rape at age seventeen by her father’s associate, which was perceived as dishonoring her family and redressed with an arranged marriage and move to Florence; the loss of four of her five children; and financial distress, the indominable Artemisia tenaciously pursued her professional ambitions on her own terms.

Instead of limiting her repertoire to still life, portraiture, and other genres to which women painters were often restricted, Artemisia treated dramatic multifigure narratives and the female nude. Her protagonists—biblical heroines, saints, and female mythological and classical subjects—embody a range of emotions and actions expressed with empathy and vivid physicality.

Artemisia achieved fame, not only for her rare status as a woman artist, but for the brilliance and immediacy of her fluid style. In recent decades, new documentation of Artemisia’s life and career has come to light, along with rediscovered paintings, letters, and poetry, to provide a richer profile of this remarkable artist, who today has achieved canonic status.

Visitor info
The Kimbell Art Museum is open Tuesday-Thursday and Saturday 10 am–5 pm, Friday 12–8 pm, and Sunday 12–5 pm. Admission to the permanent collection is free. Admission to special exhibitions is half-price all day on Tuesdays and after 5 pm on Fridays.