The Repentant Magdalene

ca. 1625

Nicolas Régnier Flemish, active Italy, 1591-1667

On View

European: 17th Century French, Level 2, South Wing

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Markings

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Exhibition History

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Published References

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Catalogue Raisonné

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About the Artwork

Title The Repentant Magdalene

Artwork Date ca. 1625

Artist Nicolas Régnier

Life Dates active Italy

Nationality Please note: Definitions for nationality may vary significantly, depending on chronology and world events. Some definitions include: Belonging to a people having a common origin based on a geography and/or descent and/or tradition and/or culture and/or religion and/or language, or sharing membership in a legally defined nation. Flemish

Culture Please note: Cultures may be defined by the language, customs, religious beliefs, social norms, and material traits of a group. Unknown

Medium Oil on canvas

Dimensions Unframed: 48 1/16 × 37 13/16 inches (122 × 96 cm) Framed: 59 1/16 × 48 7/8 × 3 3/4 inches (150 × 124.1 × 9.5 cm)

Classification Paintings

Department European Painting

Credit Gift of Mrs. Trent McMath

Accession Number This unique number is assigned to an individual artwork as part of the cataloguing process at the time of entry into the permanent collection. Most frequently, accession numbers begin with the year in which the artwork entered the museum’s holdings. For example, 2008.3 refers to the year of acquisition and notes that it was the 3rd of that year. The DIA has a few additional systems—no longer assigned—that identify specific donors or museum patronage groups. 38.67

Markings

Inscriptions ------

Provenance

1922, (Julius Böhler, Munich, Germany)

by 1924-25, collection of Julius H. Haass (Detroit, Michigan, USA)

by inheritance to Mrs. Trent McMath [née Constance Haass]

1938-present, gift to the Detroit Institute of Arts (Detroit, Michigan, USA)

For more information on provenance and its important function in the museum, please visit:

Provenance page

Exhibition History

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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

Voss, H. Die Malerei des Barock in Rom. Berlin, 1924, p. 480, pl. 144 (left). [English translation: Baroque Painting in Rome: Caravaggio, Carracci, Domenichino, and their Followers. San Francisco, 1977, p. 128, pl. 78 (bottom).]

Voss, H. "Die caravaggeske frühzeit von Simon Vouet und Nicolas Regnier," Zeitschrift für bildende Kunst, vol. 58 (1924-25): pp. 122-128, p. 124-25, repr.

Loan Exhibition of Paintings by Georges de la Tour, Antoine Le Nain, Louis Le Nain, Mathieu Le Nain. Exh., DIA. Detroit, February 1-21, 1937 (supplementary list), cat. 40 [lent by Mrs. Lillian Henkel Haass.]

Richardson, E. P. "The Repentant Magdalen by Niccolo Renieri," Bulletin of the DIA 18, no. 6 (1939): pp. 1-3, (cover repr.).

Richardson, E. P. "Renieri, Saraceni, and the Meaning of Caravaggio’s Influence," Art Quarterly, vol. 5 (1942): pp. 233-41, pp. 234-235, (fig. 4).

Richardson, E.P., ed. Catalogue of Paintings, 2nd ed. Detroit, 1944, pp. 108-9, no. 689 [from artist's early period].

Donizelli, C. and G. M. Pilo. I pittori del sei cento veneto. Florence, 1967, p. 342, 343 [cited].

Spear, R. Caravaggio and his Followers. Exh. cat., Cleveland Museum of Art. Cleveland, 1971, pp. 148-49, no. 54, repr.

Fredericksen, B. and F. Zeri. Census of Pre-Nineteenth-Century Italian Paintings in North American Public Collections. Cambridge, Massachusettes, 1972, p. 174.

Volpe, C. "Annotazione sulla mostra caravaggesca di Cleveland," Paragone, vol. 23, no. 263 (1972): p. 72.

Fantelli, P. L. "Nicolò Renieri 'Pittor Fiamengo'," Saggi e memorie di storia dell'arte, 9 (1974): pp. 77-115 and 173-95, pp. 81-2, 94, no. 25, 178, (fig. 11).

Rome, Accademia Francais--Paris, Grand Palais, "Valentin et les caravagesques français," 1974, p. 250 (cited). [Entries by A. Brejon de Lavergnée and J.-P. Cuzin.]

Klütsch, M. Caravaggio und die französische Malerei des 17. Jahrhunderts, Cologne, 1974, pp. 104, 431-2, no. 61.

Leningrad. "Paintings in Soviet Museums: Caravaggio and his Followers," [intro. and] trans. S. Vsevolozhskaya and L. Linnik, 1975, notes to pl. 49.

Moir, A. Caravaggio and his Copyists. New York, 1976, p. 142, note 239; 148, note 247, (fig. 39).

Garas, K. "Tableaux baroques inconnus à Budapest," Bulletin du Musée Hongrois des Beaux-Arts. 1979, pp. 171-188, p. 175.

Nicolson, B. The International Caravaggesque Movement. Oxford, 1979, p. 80.

Cuzin, J-P. "Manfredi's Fortune Teller and Some Problems of 'Manfredianus Methodus'," Bulletin of the DIA 58, no. 1 (1980): pp. 15-25, pp. 20, 22, (fig. 8).

Pallucchini, R. La pittura veneziana del seicento, 2 vols. Milan, 1981, vol. 1, p. 149; vol. 2, (fig. 418).

France in the Golden Age: Seventeenth-Century French Paintings in American Collections. Exh. cat., Galeries Nationales du Grand Palais, Metropolitan Museum of Art, and The Art Institute of Chicago. New York, 1982, pp. 52, 316-17, no. 96, repr.

Nicolson, B. and L. Vertova. Caravaggism in Europe, 2nd ed. Turin, 1990, vol. 1, p. 160; vol. 3, pl. 970.

Piguet-Skliar, A. "NicolasRègnier (Nicolò Renieri)." In The Dictionary of Art, ed. J. Turner, vol. 26, p. 94.

Sinners and Saints, Darkness and Light: Caravaggio and his Followers. Exh. cat., North Carolina Museum of Art, Milwaukee Art Museum, and Dayton Art Institute. Raleigh, September 1998-July 1999, p. 229, repr.

Lemoine, A. "David et Goliath, un nouveau tableau de Nicolas Régnier (v. 1591-1667) au Musée des Beaux-Arts de Dijon," Revue du Louvre, 50, no. 5 (2000): pp. 46-55, p. 51.

Bissell, R. W., Derstine, A. and Miller, D. Masters of Italian Baroque Painting: The Detroit Institute of Arts. London, 2005, pp. 9, 160-61, cat. no. 52 [entry by W. Bissell].

Lemoine, A. Nicolas Régnier (alias Niccolò Renieri) ca. 1588 - 1667. Peintre, collectionneur et marchand d'art. Paris, 2007, pp. 90, 246, cat.47.

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