The Repentant St. Mary Magdalene

Author: Niewiarowicz Wladyslaw , 1814 - 1888

Created: 1842 m. 

Material / technique: oil on canvas.

Dimensions:  117 x 90,5 cm. 

Signature: J. Tysiewicz / 1842 (bottom middle).

The Penitent St Mary Magdalene by Wladyslaw Niewiarowicz (alias Jonas Tysiewicz as of 1840) is, without the shadow of a doubt, his best piece of work that received a tremendous response from the public right after it was revealed. St Mary Magdalene is portrayed as a penitent hermit in a cave leaning against a rock, her hands set in prayer against a cross made of sticks and a skull. Her half-naked body is illuminated with the warm light from a small oil lamp and the cool moon rays coming from the painting’s top-left corner, where appears to be a hole in the rock. On top of the rock, there is a tool of discipline – a whip for self-flagellation. We would be within our rights saying that no other piece of work by a graduate from the Vilnius School of Art (or a 19th century Lithuanian painter in general) received as much attention in the press of the period or was showcased at as many exhibitions as this one. The artist himself created several oil and watercolour versions of the fabled picture; its lithographic copies would be printed as well. Authors from the late 19th century were very generous in their appreciation of the Magdalene by Niewiarowicz– Tysiewicz because it was considered to be the first painting of the ‘Polish paintbrush’, its exhibition to travel different European countries and draw the attention of foreign art experts. The signature and the date inscribed on the painting date Niewiarowicz’s Penitent St Mary Magdalene 1842. The artist signed the painting using his pen name, J. Tysiewicz. (Text by Rūta Janonienė, PhD).

Niewiarowicz did his canvas St Mary Magdalene in Vienna in 1842 after The Penitent St Mary Magdalene, a painting by Jan Baptist Maes, a Belgian painter based in Rome. This fact does not diminish the value of the painting in the least. Niewiarowicz’s canvas is not a verbatim copy of the original image: it is rather an interpretation done talentedly, a challenge of the young painter to his older peer. In mid-19th century, Niewiarowicz’s St Mary Magdalene most probably was the product of the ‘Polish paintbrush’ of the highest foreign renown. Its fame was due to Felix Boznanski, a Polish army officer, writer, and musician, who bought St Mary Magdalene and took it on a tour across different European countries, putting it on display in Vienna, Berlin, Dresden, Leipzig, Lvov, Warsaw, Moscow, St Petersburg, to name a few. The painting would be well received and attract a crowd of viewers in all of these places. The success of the show was owed to the artistic qualities of the painting just as it was to the theatrically enhanced display. A reviewer of the 1843 Warsaw exhibition cites that Niewiarowicz’s canvas was ‘displayed in a dimly lit room, illuminated with an artificial light. The frame of the painting was covered in black velvet, and the manmade barrier would not let the viewers anywhere near the painting, but the painting’s reflections could be viewed in the mirrors suspended nearby. The floor of the room was covered with soft carpets lest footsteps disturbed the quiet; besides, only a few people would be let in at any one time.’ Spurred on by his success, Niewiarowicz did several replicas of the picture. The 1842 original of the painting is kept in a private collection in Lithuania. (Dalia Tarandaitė).

Very few works of the old Lithuanian art are known for such immense popularity and enthusiastic response by the contemporaries as the Repentant St. Mary Magdalene by Władysław Niewiarowicz (also known by his alias Jan Tysiewicz, 1814/1815–1891). The depiction of the saint created following the work of Belgian painter Jean Baptiste Lodewijk Maes (1794–1856) was not just a mere copy. The work painted during the artist’s studies in Vienna was soon awarded a gold medal and purchased. Upon acquiring the work, the officer, writer and musician Felix Boznański (c. 1793 – c. 1860) began to showcase it across Europe in a solo painting exhibition. Berlin, Dresden, Leipzig, Lviv, Warsaw, Moscow, St. Petersburg, Grodno, Poznan, Vilnius… The entire journey was followed by abundant press reviews, famous cultural figures mentioned the work in their letters, even poems were written to honour the painting, and it was frequently labelled as masterpiece, a triumph of the artist. What was the reason for such acclaim? Niewiarowicz’s painting is a masterfully executed ambitious interpretation of the prototype. The viewers were, and still are, fascinated by the meticulous drawing, the colours, and the impressive chiaroscuro. With these techniques, the artist managed to create a particularly vivid, carnal image of the saint. Contemporaries noticed it saying that “in other paintings dedicated to Magdalene, one sees only utter repentance, absolute anti-sensuality; in other words, in a skinny and tired face, in the sagging and tortured body, one sees only the soul; while here, there is sin, repentance, uncertainty, power, body, and spirit all in one.” Finally, no less important for the influence and popularity of the painting was its smart display with complementing theatrical and optical illusions that enhanced the glow effect and real-life impression.

Reference: Vilnius Picture Gallery, link to the internet https://www.lndm.lt/is-nusidejeliu-didziausia-vladislovo-neveraviciaus-paveikslas-atgailaujanti-sv-marija-magdaliete/?lang=en.

The time for women has come: from the Venice Biennale's "Milk of Dreams" to the Lukiškės Prison's "KovotoJŲ" (Fighters). Perhaps not as significant, but no less interesting, is the Lithuanian National Art Museum's presentation of "The Greatest of Sinners," St. Mary Magdalene. The exhibition's curator, Joana Vitkutė, tells the story of the Lithuanian Mona Lisa – Vladislovas Neveravičius (Władysław Mieczysław Niewiarowicz, 1814–1895). In the first exhibition hall, "Vladislovas Neveravičius," the curator tells the story of the artist and shows other paintings he has painted. In the first exhibition hall, "Vladislovas Neveravičius," the curator tells about the author of the work and shows other paintings by him. In the second hall, "The Birth and Evaluation of the Work," she presents the prototype of the work and the method of display that shocked contemporaries: the painting was displayed in a darkened room covered with carpets, preventing viewers from getting too close. The third hall displays the painting, attempting to recreate the aforementioned sensation, while the fourth hall, "Source of Inspiration," , another painting by Neveravičius himself, "The Repentant St. Mary Magdalene," is displayed, along with a watercolor and graphic version of the painting and other copies. Although Vladislovas Neveravičius's idea for the painting is not entirely original—its prototype was a work by Dutch artist Jean Baptiste Lodewyck Maes (1794–1856), who lived in Rome for a long time (and also enjoyed great popularity)— Joana Vitkutė, based on the insights of Rūta Janonienė and her own observations, proves that the painting by our artist should not be called a copy of Maes' canvas, "but a talented interpretation that speaks of the young artist's challenge to his older colleague and artistic competition." The painting was painted while Neveravičius was studying in Vienna and was soon awarded a gold medal and purchased. The officer, writer, and musician Feliks Boznański, who purchased the painting, began to take it around Europe and present it at solo exhibitions in Berlin, Dresden, Leipzig, Lviv, Warsaw, Moscow, St. Petersburg, Gardin, Poznań, and Vilnius. The trips were accompanied by reviews in the press, the painting was mentioned by famous cultural figures, poems were written in its honor, and it was called a captivating masterpiece and the artist's triumph. Thus, few works of Lithuanian art can boast such popularity and enthusiastic reactions from contemporaries. And what is the reaction of the viewers of this exhibition? Does it take our breath away as well? Are the effects of the painting's display, which impressed people at the time, still effective, or do "both experts and laymen find it difficult to tear themselves away from it and keep coming back to admire it"? It is worth remembering that the cult of St. Mary Magdalene rose like a powerful wave during the Baroque era and, although it seemed to clash with the strictly ascetic recommendation of the Council of Trent (1545–1563) not to "offend the faithful," devotion to the holy penitent burst forth in what is perhaps the most beautiful and abundant artistic creation (after the Blessed Virgin Mary). When painting and sculpting the image of St. Mary Magdalene, artists did not have to censor themselves or fear the client or viewer because of nudity or sensuality. Why? First of all, because the identity of St. Mary Magdalene is constructed from several remarkable women mentioned in the Gospels: 1. The unnamed sinner described by St. Luke: a woman who came to a banquet held at the house of Simon the Pharisee and anointed the Savior's feet with oil and wiped them with her hair (Luke 7:36-50). 2. Mary of Bethany, Martha's sister, who chose "the better part" than her sister: Mary listens to Jesus' words, while Martha busies herself with everyday tasks, trying to make her guests as comfortable as possible (Luke 10:38-42). The same Mary, sister of Lazarus, mourning her brother's death (Jn 12:11–45) and pouring expensive perfume on the Lord's head during the supper at Bethany (Jn 12:1–8; Mt 26:6–12; Mark 14:3–9). 3. The woman called Mary of Magdala, "freed from seven demons" (Luke 8:2; Mark 16:9). After her healing, she began to serve and follow Jesus to Judea, and was present at his crucifixion on Golgotha (Mt 27:55–56; Lk 23:49; Jn 19:25). On Easter morning, Mary Magdalene and other women came to embalm the Savior's body and found the tomb empty (Mt 28:1–10; Mk 16:1–8; Lk 24:1–10; Jn 20:1–10). She, a woman, became the first person to see the risen Jesus and to tell the male apostles about it! Christian tradition has not provided a clear answer as to whether the Gospels are referring to the same woman or whether they should be distinguished. The liturgy of the Eastern Church to this day tries to see three different women. Since the time of Pope Gregory the Great, the Western Church has believed that all the stories refer to one Mary Magdalene. Disputes and controversies were inevitable, and this encouraged artists to create images of St. Mary Magdalene, write hymns, and create installations. Vladislovas Neveravičius' "Repentant St. Mary Magdalene" could be attributed to all three women: beauty, long hair, a cross, instruments of mortification, a hermit's cave, and past luxury (red velvet). This is because hagiographic tradition and Christian imagination were not limited to the Gospel stories, but also expanded devotion to St. Mary Magdalene. Because hagiographic tradition and Christian imagination were not limited to the Gospel stories, devotion to St. Mary Magdalene was expanded and enriched by telling stories about the penitent's life after Christ's resurrection, her old age and death, and the miracles that occurred after her death, as well as the journeys of her relics. "Penitent" is the second very important aspect and title in this woman's story, because the concept of forgiveness and repentance was very important to Western Catholics, and not only to them, in 16th-century Europe, which was torn apart by reforms. Existentialists of the 20th century, creators of the "philosophy of life," also reflected on guilt, remorse, good and evil, and the defilement of the soul, while artists continued to paint Magdalenas. Thirdly, art history shows that the depiction of the naked body has experienced periods of popularity and censorship, but in the case of the iconography of St. Mary Magdalene, nudity has never become taboo, because, as Neveračiaus' contemporaries rejoiced: "After all, here we have sin, repentance, confusion, strength, body, and spirit." And finally, St. Mary Magdalene is an icon of a very human truth: "He who has been forgiven much, loves much" (Luke 7:42).

Reference: Sigita Maslauskaitė-Mažylienė, "The greatest of sinners, but the most beloved: Vladislovas Neveravičius' painting 'The Repentant St. Mary Magdalene'," 7 meno dienos, No. 22 (1429), 2022-06-03.

Published: Art culture magazine "Shores", 2020 No. 4, Karolina Tomkevičiūtė "The Great Curator and Lessons from His Creativity", p. 20; "The Worst of All Sinners: Repentant St. Mary Magdalene by Władysław Niewiarowicz", exhibition catalogue, Lithuanian National Museum of Art, 2022, catalog cover, p. 9, 19, 25.

Exhibitions: "Studio of Vladislovas Neveravičius",  Vilnius Picture Gallery, 2014 December 16 - 2015 March 15;  exposition "In Art We Trust" at the contemporary art fair "Art Vilnius", 2019;  "The Worst of All Sinners: Repentant St. Mary Magdalene by Władysław Niewiarowicz", Vilnius Picture Gallery, 2022 April 26 - 2023 January 31.

Photographs: Display in the exhibition "Studio of Vladislovas Neveravičius", Vilnius Picture Gallery, 2014 December 16 - 2015 March 15 (photos taken by  Tomas Kapočius); exposition "In Art We Trust" at the contemporary art fair "Art Vilnius", 2019; art album "Art & Us", Lewben Art Foundation, 2019; "Leaderpia" -  South Korean media; Display in the exhibition "The Worst of All Sinners: Repentant St. Mary Magdalene by Władysław Niewiarowicz"; description of the exhibition "The Worst of All Sinners: Repentant St. Mary Magdalene by Władysław Niewiarowicz"; Photo Lewben Art Foundation's art challenge for colleaguess, 21 April 2020. When quarantine began in various parts of the world and the closure of museums, they have created an artistic challenge by encouraging people to recreate the world’s most famous works preserved in art museums at home.