The historical and cultural perception of Mary Magdalene has undergone a radical transformation since the dawn of Christianity. Once labeled a sinner, then a saint, and now celebrated as a feminist icon, she remains one of the most complex figures in biblical and European history. A new exhibition at the Städel Museum in Frankfurt highlights this journey, exploring how artists and theologians have reinterpreted her role across millennia.
Bastian Eclercy, curator of the exhibition “Mary Magdalene: Sin. Pray. Love,” describes her as perhaps the most enigmatic figure in the Bible and a recurring subject in art history. “The broad range of roles attributed to her throughout history has fascinated artists of all eras and genres,” Eclercy notes, acknowledging the challenge her multifaceted legacy presents to creators.
Biblical Foundations and Early Misconceptions
The New Testament offers limited details about Mary Magdalene, yet assigns her a pivotal role. Gospels record that Jesus cast seven demons from her, that she accompanied him to the crucifixion and burial, and that she was the first witness to the Resurrection on Easter morning. Consequently, she earned the title Apostula Apostulorum, or “Apostle of the Apostles,” marking her as central to the narrative of salvation.
However, the popular image of Mary Magdalene as a repentant prostitute stems from a 6th-century decree by Pope Gregory the Great. Around 600 AD, the Pope conflated three distinct biblical women: Mary Magdalene, the unnamed sinner who washed Christ’s feet in the Gospel of Luke, and Mary of Bethany. Gregory asserted that the seven demons represented the seven deadly sins, a sermon that cemented her reputation as a penitent prostitute despite having no basis in Scripture.
Artistic Depictions Through the Ages
This theological confusion deeply influenced Western art. During the Renaissance and Baroque periods, painters such as Titian, El Greco, and Georges de la Tour frequently portrayed Mary Magdalene as a repentant penitent. These depictions often carried erotic undertones, emphasizing her physical beauty and remorse.
In the 20th century, interpretations shifted again. Max Beckmann, a key figure in the New Objectivity movement, depicted her as a sinner in his 1917 work “Christ and the Sinner.” Nearly a century later, pop culture reinvented the image when Lady Gaga portrayed Mary Magdalene in her 2011 music video for “Judas,” calling it the most exciting artistic moment of her career.
Rediscovery and Modern Reevaluation
The Renaissance and Reformation began to challenge the conflation of the three women, but it was the Second Vatican Council (1962–1965) that officially revoked the identification of Mary Magdalene with the anonymous sinner. The modern era has seen further changes through the rediscovery of the non-canonical Gospel of Mary, which portrays her as a close confidante of Jesus and a leading figure in early Christianity.
Today, Mary Magdalene is viewed as a key figure in feminist theology and a role model for women living on their own terms. This shift is reflected in contemporary art, including the exhibition’s newest piece, Nieves Gonzalez’s 2025 work “La Sfida” (The Challenge). The painting deconstructs traditional attributes: instead of gazing upward penitently, Mary looks down with confidence. Her hair, once loose to signify sin, is neatly brushed like a scarf, and her body is wrapped in a thick red down coat rather than exposed skin. She holds a blood-red skull, a symbol of power and transience, asserting her authority.
Official Recognition and Ongoing Legacy
The Catholic Church has also formally recognized her status. In 2016, Pope Francis elevated her liturgical celebration on July 22 from a Memorial to a Feast, aligning her ritual standing with that of male apostles.
The exhibition “Mary Magdalene: Sin. Pray. Love,” featuring over 100 artworks, runs at the Städel Museum in Frankfurt from September 17 through January 17, 2027.
I always found it strange that artists painted her as sexy penitents for centuries. Good to see the exhibition finally corrects the record.
That red coat in the new painting looks like a bold statement. I wonder if traditionalists will appreciate this modern feminist reinterpretation?
It is fascinating to see how much of her ‘sinful’ reputation was just a clerical error by Pope Gregory that lasted fifteen hundred years!