Martha and Mary Magdalene

Michelangelo Merisi da Caravaggio Italian, 1571 - 1610
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in

European: Medieval and Renaissance, Level 2, West Wing

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About the Artwork

"There is a Michelangelo da Caravaggio who is doing extraordinary things in Rome.” This quote by a contemporary Dutch painter provides a sense of Caravaggio’s revolutionary impact on the European art scene. Caravaggio’s dramatic use of light and shadow animates his religious images, which feature ordinary-looking people as models. This painting takes as its starting point a passage from the Gospel of Luke in which Christ has been welcomed into the house of sisters Martha and Mary Magdalene. It shows an imaginary exchange between the modest Martha, shown reproaching her sister for her wayward conduct and enumerating on her fingers the miracles of Christ, and the sensual, vain Mary, who wears luxurious clothing and rests her hand on a large mirror. However, Caravaggio introduced details that hint at Mary’s forthcoming conversion. In her right hand, she holds an orange blossom twig, a symbol of purity; the ring on her left hand alludes to her status as the bride of Christ.

Martha and Mary Magdalene

ca. 1598

Michelangelo Merisi da Caravaggio

1571 - 1610

Italian

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Oil and tempera on canvas

Unframed: 39 3/8 × 52 15/16 inches (100 × 134.5 cm) Framed: 51 × 64 3/4 × 3 3/4 inches, 111 pounds (129.5 × 164.5 × 9.5 cm, 50.3488 KG)

Paintings

European Painting

Gift of the Kresge Foundation and Mrs. Edsel B. Ford

73.268

Public Domain

Markings

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Provenance

Arezzo, Collection Panzani Family;
1897, legally exported through the dogana in (Milan, Italy);
between 1904 and 1909, acquired by Indalecio Gómez, Argentine Ambassador to Berlin (Paris, France);
by descent, collection Carlos Gómez de Alzaga, grandson of Indalecio (Salta Province and subsequently Buenos Aires, Argentina);
1971, sold at auction (Christie's, 25 June 1971, lot 21, London, England);
purchased by Ambassador Carlos Gómez de Alzaga;
1973-present, purchase by the Detroit Institute of Arts (Detroit, Michigan, USA)

For more information on provenance, please visit:

Provenance page

Exhibition History

Please note: This section is empty

The exhibition history of a number of objects in our collection only begins after their acquisition by the museum, and may reflect an incomplete record.

We welcome your feedback for correction and/or improvement.

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Published References

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Polivideo. Caravaggio: L'Eredità di un Rivoluzionario. Locarno, 2008, 15m16s; 16m58s (DVD).

Pericolo, Lorenzo. "Love in the Mirror: A Comparative Reading of Titian's Women at her Toilet and Caravaggio's Conversion of Mary Magdalene." I Tatti Studies in the Italian Renaissance 12 (2009): pp. 149-179 (ill.).

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Varriano, John. Caravaggio: The Art of Realism. University Park, 2010, pp. 6 (ill.), 9, 12; p. 56; p. 90; pp. 94-95; p. 109; p. 117-118; (fig. 1).

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Franklin, David, and Sebastian Schütze. Caravaggio & His Followers in Rome. Exh. cat., National Gallery of Canada. Ottawa, 2011, pp. 257-269, no. 47 (ill.).

Whitfield, Clovis. Caravaggio's Eye. London, 2011, p. 36 (ill.); p. 109; pp. 129-133 (ill.); pp. 231-232 (ill.).

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Pericolo, Lorenzo, and David M. Stone. Caravaggio: Reflections and Refractions. Dorchester, 2014, pp. 49, 87, 111 (ill.).

Beal, Graham W.J., and Debra N. Mancoff. Treasures of the DIA. Detroit, 2015, pp. 7, 18 (ill.).

Benay, Erin E., and Lisa M. Rafanelli. Faith, Gender and the Senses in Italian Renaissance and Baroque art: Interpreting the Noli me tangere and Doubting Thomas. Burlington, 2015, p. 193; pp. 197-199; (pl. 5).

Schütze, Sebastian. Caravaggio: The Complete Works. Cologne, 2015, front matter (ill.); pp. 68-69 (ill.); pp. 72, 75-76, 86-87 (ill.); p. 250; pp. 255-256, cat. no. 20 (ill.).

Fried, Michael. After Caravaggio. New Haven, 2016, p. 14.

Kawase, Yusuke, and Shinsuke Watanabe, eds. Caravaggio and his time: Friends, rivals and enemies. Exh. cat., The National Museum of Western Art, Tokyo. Tokyo, 2016, p. 21 (ill.); p. 270.

Thomas, Troy. Caravaggio and the Creation of Modernity. London, 2016, pp. 52-53; p. 78; pp. 172-174, (pl. 50).

Treves, Letizia. Beyond Caravaggio. Exh. Cat., National Gallery Company, London. London, 2016, p. 26.

Zuffi, Stefano. Caravaggio in Detail. Antwerp, 2016, p. 19, no. 18 (ill.); pp. 42-43 (ill.); pp. 94-95 (ill.); pp. 162-163 (ill.).

Cardinali, Marco, et al. “The Rediscovered Portrait of Prospero Farinacci by Caravaggio.” Artibus et Historiae 37, no. 73 (2016): pp. 249-283; pp. 253, 258 (figs. 12-13).

Haberman, Clyde. "He's a Creep, but Wow, What an Artist!" New York Times, November 15, 2017, p. A22. https://www.nytimes.com/2017/11/14/opinion/artists-assault-fans.html. (accessed November 16, 2017).

Spear, Richard E. “An Invisible Web: Art Historians Behind the Collecting of Italian Baroque Art.” In Buying Baroque: Italian Seventeenth-Century Paintings Come to America, Edgar Peters Bowron, ed. University Park, 2017, p. 56.

Vodret, Rossella, ed. Dentro Caravaggio. Exh. cat., Palazzo Reale. Milan, 2017, pp. 78-85 (ill.), 211-215 (figs. 27, 29, 38), 282, 316, 318, 322-323.

Setaioli, Aldo. "Quale Maria? Caravaggio e le due sorelle." Prometheus 44 (2018): pp. 3-19 (ill.).

Brown, Mark. "'Lost Caravaggio' rejected by the Louvre may be worth £100m." The Guardian. (February 28, 2019). https://www.theguardian.com/artanddesign/2019/feb/28/lost-caravaggio-rejected-by-the-louvre-may-be-worth-100m (accessed February 28, 2019).

Mandel, Nathalie. “Pour ou Contre: Judith et Holopherne est-il de Caravage?” L’Object D’Art 53 (June 2019): pp. 52-65; p. 64 (ill.) [detail of DIA painting used as comparative image].

Scott, Chadd. "Dallas Museum of Art Offers Rare Look At A Caravaggio Masterpiece." Forbes (August 8, 2019).

Nichols, Lawrence. The Brilliance of Caravaggio: Four Paintings in Focus. Toledo, 2024, no. 53.

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Michelangelo Merisi da Caravaggio, Martha and Mary Magdalene, ca. 1598, oil and tempera on canvas. Detroit Institute of Arts, Gift of the Kresge Foundation and Mrs. Edsel B. Ford, 73.268.

Martha and Mary Magdalene
Martha and Mary Magdalene