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Title

Mary Magdalene

The Astorga Master [attributed to]

Generic classification
Painting
Object
Painting
Date
ca. 1525
Century
First quarter of the 16th c.
Cultural context / style
Renaissance
Material
Panel
Technique
Gilded, Oil Painting
Iconography / Theme
María Magdalena
Provenance
Possible origin from Castile and Leon (Castilla y León, Possible origin from Castile and Leon, Spain)
Current location
Phoenix Art Museum (Phoenix, United States)
Inventory Number in Current Collection
1959.66
Object history

The museum has attributed this piece to the Master of Astorga, a group of artists who worked in the present-day areas of León, Zamora, Palencia, and Valladolid between 1510 and 1530 (Fiz Fuertes, 2023). This attribution was supported by Álvarez (2005); however, we question whether it is truly the work of this school. When comparing this work with other paintings known to be by the Master of Astorga, differences in composition, the treatment of attire, and architectural elements are noticeable.

In any case, this panel likely formed part of a disassembled altarpiece, possibly as early as the beginning of the 20th century. Its original provenance is unknown, though it is plausible to consider that it came from the Castile and León region. As with other paintings of the time, it is assumed that it was put up for sale and left Spain in the first half of the 20th century. It was in the possession of Mr. and Mrs. Lewis J. Ruskin during the second quarter of the 20th century in Scottsdale, Arizona. Later, in 1959, these philanthropists donated the piece to the Phoenix Art Museum (Arizona), where it remains today.

Description

The female figure is framed within a classical architectural setting against a golden background resembling a tapestry. She represents Mary Magdalene, holding a jar of perfume in her right hand. This attribute has traditionally been used to depict her, as described in the Gospel of Luke:

"One of the Pharisees invited Jesus to eat with him, so he went to the Pharisee's house and reclined at the table. Now, a woman who was known as a sinner lived in that town. When she learned that Jesus was dining at the Pharisee's house, she came with an alabaster jar of perfume. Weeping, she threw herself at Jesus' feet, washing them with her tears. She then dried them with her hair, kissed them, and anointed them with the perfume” (Luke 7:36-37).

Locations
* The relative location of dealers, antique shops, art galleries, and collectors leads us to the places where they were based or had one of their main headquarters. However, this does not always indicate that every artwork that passed through their hands was physically located there. In the case of antique dealers and art merchants, their business often extended across multiple territories; sometimes they would purchase items at their origin and send them directly to clients. Similarly, some collectors owned multiple residences, sometimes in different countries, where they housed their collections. It is often difficult to determine exactly where a specific piece was kept during its time in their possession. Consequently, the main location of the dealer or collector is indicated. These factors should be considered when interpreting the map. Refer to the object's history in each case.
Bibliography
  • ÁLVAREZ, Mari-Tere (2005): El alma de España, The Alburquerque Museum, Alburquerque, pp. 100-101.
  • FIZ FUERTES, Irune (2023): Pintura y pintores en Zamora (1525-1580). Un estudio del caso sobre la asimilación del Renacimiento en el noroeste castellano-leonés y su irradiación, Universidad de Valladolid, Valladolid.
Citation:

Isabel Escalera Fernández, "Mary Magdalene" in Nostra et Mundi. Cultural Heritage from Castile and Leon around the world, Fundación Castilla y León, 2025. https://inventario.nostraetmundi.com/en/work/153

Phoenix Art Museum, Phoenix.


Photography: Ken Howie.

Phoenix Art Museum, Phoenix.

  |  

Photography: Ken Howie.

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