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Penitent Magdalene, 1717

  • Caterina De Julianis, Italian, 1670 - 1743

Polychrome wax, painted paper, glass, tempera on paper, and other materials

  • Unframed: 10 9/16 × 10 5/8 inches (26.9 × 27 cm)
  • 23 5/16 × 20 15/16 × 4 1/2 inches (59.2 × 53.2 × 11.5 cm)

Museum Purchase, Robert H. Tannahill Foundation Fund

2019.44

Department

European Sculpture and Dec Arts

  • Christianity
  • Metal
  • Wax
  • Paper (fiber product)
  • Paper (fiber product)
  • Textile materials
  • Paint
  • Tempera
  • Glass
  • Trees
  • Flowers (plants)
  • Sculpture
  • Forest
  • Polychromed (coloring process)
  • Feathers
  • Landscape
  • Animals
  • Christ
  • Deer
  • Crucifixion
  • Mary magdalene
  • Kneeling
  • Rabbits

Signed, on banderole, lower left: Caterina de Julianis F. 1717

Private Collection (Rome); by October 27, 2018 (Carlo Virgilio); by March 2018, Jaime Eguiguren (Arts & Antiques, Buenos Aires, Argentina); 2019-present, purchase by the Detroit Institute of Arts (Detroit, Michigan, USA)

Katha­rina Dohm, Claire Garnier, Laurent Le Bon, and Florence Ostende eds. Diorama – Erfindung einer Illusion. Frankfurt, 2017, pp. 17, 22 (ill.). [see also French Version, Paris, 2017, pp. 17, 22] Che, Jenny. “The Enduring Delight of the Diorama.” Hyperallergic (August 4, 2017). https://hyperallergic.com/394021/the-enduring-delight-of-the-diorama/ “Schirin Kunsthalle Frankfurt, Diorama – Inventing Illusion.” Phasis (December 2, 2017) p. 2-3 (ill.). https://phasisgallery.com/en/schirn-diorama/ Étienne, Noémie. “Dioramas, Before and After.” Journal 18 (September 15, 2017) pp. 3-4, fig. 4 (ill.). http://www.journal18.org/nq/dioramas-before-and-after-by-noemie-etienne/ Nechvatal, Joseph. “Review: Dioramas- Palais de Tokyo.” Whitehot Magazine (September, 2017). https://whitehotmagazine.com/articles/dioramas-at-palais-de-tokyo/3746 Jaime Eguiguren Arts and Antiquities. Caterina De Julianis, Naples ca. 1670-1743, Penitent Magdalene 1717. Buenos Aires, 2018, pp. 2-6. Étienne, Noémie. “Le diorama, par-delà l’espace et le temps: un media transhistorique et transcultural.” In, D’Une Rive À L’Autre Patrimoines Croisés Naef, Silvia, Pauline Nerfin and Nadia Radwan eds. p. 129, fig. 3 (ill.). Kinsella, Eileen and Henri Neuendorf. “From a Portrait by a Teenage Picasso to Artemisia Gentileschi’s ‘Allegory,’ Here are 5 Standout Works at TEFAF New York.” Art Net News (October 29, 2018) no. 2, (ill.). https://news.artnet.com/market/6-must-see-masterpieces-tefaf-new-york-1381510 Giuseppe Porzio, ed. Selected Works from 17th to 20th Century. Exh. cat., Galleria Carlo Virgilio & Co at TEFAF New York Fall, October 27-31, 2018. New York, 2018, pp. 42-44, cat. 4 (ill.). Grifol, Pedro. “Maastricht y su TEFAF, la feria de arte por execlencia.” (March 18, 2019). https://www.eleconomista.es/turismo-viajes/noticias/9766696/03/19/Maastricht-y-su-TEFAF-la-feria-de-arte-por-excelencia-.html Straussman-Pflanzer, Eve, and Oliver Tostmann, eds. By Her Hand: Artemisia Gentileschi and Women Artists in Italy, 1500–1800. Exh. cat., Wadsworth Atheneum Museum of Art and DIA. Detroit, 2021, pp. 158-160 (ill.); cat. 51.

Caterina De Julianis, Penitent Magdalene, 1717, polychrome wax, painted paper, glass, tempera on paper, and other materials. Detroit Institute of Arts, Museum Purchase, Robert H. Tannahill Foundation Fund, 2019.44.