(Bologna 1648 – 1729)
Mary Magdalene Receiving the Crown of Thorns from an Angel, oil on canvas, 58.9 x 51.6 cm, framed

The painting’s original stretcher (now removed from the painitng) bears the number ‘38’ and two labels inscribed ‘Gr. P’ and ‘GGT’, as well as a wax seal featuring the coat of arms of the Franceschini family.

Provenance: probably Paolo Granieri or Gremesi, Bologna 1691; Fondoantico, Bologna; European private collection

Literature: probably Marco Antonio Franceschini, Libro dei Conti 1684–1717, manuscript, Biblioteca Comunale Bologna, BCB. MS. B 4067, c. 15V, 22 March 1691 ‘Dal Sig. Paolo Gremesi per una Madalena piccola con puttino L. 200’; E. Negro, in Arte in Emilia. Dalle raccolte storiche al nuovo collezionismo, Modena, 1989, p. 132, no. 98; D. Benati, in Aspetti dell’Arte Emiliana dal XVI al XVIII Secolo, Catalogue Fondoantico, Bologna, 1998; D. W. Miller, Marcantonio Franceschini, Artema, 2001, p. 121, no. 27, pl. XVIII.

Franceschini returned to the subject of the penitent Magdalene on several occasions and both Negro and Benati (see Literature) consider the present painting to be the work described in Franceschini’s account book of March 1691 as ‘Maddalena piccola con puttini’. Paolo Granieri or Gremesi is mentioned as the buyer. Stylistically, the painting dates from the 1690s, which would also correspond with the artist’s further production. Negro and Miller (see Literature) suggest a possible collaboration of Luigi Quaini for the landscape background and other elements. The theme of the penitent Magdalene was an important inconographic motif during the Counter Reformation, so that depictions of the saint were widespread throughout Europe. Mary Magdalene symbolizes a person who, after a period of extravagance and sinfulness, seeks refuge in religion and strives for a life in prayer and penitence. Mary Magdalene was traditionally believed to have been a prostitute, until she met Christ and was redeemed. Subsequently, she withdrew from the world to atone for her sins. During the Baroque period, the symbolism of Mary Magdalene was used by the Catholic church to urge believers to admit their sins so that they could hope for redemption and spiritual purification.

The painting’s original stretcher (now removed from the painitng) bears the number ‘38’ and two labels inscribed ‘Gr. P’ and ‘GGT’, as well as a wax seal featuring the coat of arms of the Franceschini family. Provenance: probably Paolo Grani