Lost for centuries, Caravaggio’s 'Mary Magdalene in Ecstasy' in India for first time

New Delhi: Her head thrown back, lips parted as if in a sigh, fingers entangled in repentance, eyes half-closed and a tear rolling down. Caravaggio's "Mary Magdalene in Ecstasy", his finest and perhaps his last work painted around 1606, is in town on its first sojourn to India. The canvas by the Italian baroque painter was unveiled at the Italian Cultural Centre on Friday by Italian Deputy Prime Minister Antonio Tajani and Minister for University and Research Anna Maria Bernini. Michelangelo Merisi da Caravaggio, renowned for his revolutionary use of light and shadow, transformed the visual language of baroque art with his emotive realism and masterful technique, an example of which is evident in "Mary Magdalene in Ecstasy", painted while the artist was in exile after being charged with murder. The painting depicts spiritual transcendence, exemplifying Caravaggio’s signature chiaroscuro - the technique of using bright and dark contrast to create a sense of depth and drama.

In the iconic painting, Magdalene, a follower of Jesus Christ, lies diagonally across the canvas, her face transfigured by the ecstasy that “anticipates the sensual vision typical of the baroque age”. “It is one of the last paintings that Caravaggio painted before dying. It is also extremely innovative in the way the composition is made, the body is in a diagonal line and it relies entirely on the emotions of the body of Magdalene,” Andrea Anastasio, director of Italian Cultural Centre, said. He added that the lower part of the painting is built in a way that “condenses the gaze” with the red drape and her hands being covered by her dark red hair. “And then to release it in the expression of the face, which is overwhelmingly powerful. Also the way he paints the shape of her mouth, and the tears, it really generates an impact on the viewer,” he added.

The 17th-century painting was believed to be lost for centuries until it was discovered by art historian Guglielma Gregori in 2014, who identified the iconic artwork with Magdalene’s hands. “The strong wrists and hands, in vivid colours and wonderful variation of nuances and light, with part of the fingers in shade are the striking and intense element of this painting,” writes Gregori in an accompanying brochure. The existence of the painting for centuries remained a topic of rumours and speculations, starting from as early as July 1610, a few days after Caravaggio’s death, when it was mentioned in a letter from Deodato Gentile, bishop of Caserta and apostolic nuncio in the Kingdom of Naples. Gentile mentioned in another letter to the Secretary of State of the Pontifical State Scipione Borghese that the painting was seized at the request of the prior of Capua, Vincenzo Carafa. At this point in time, the traces of the painting were lost - before resurfacing in 2014 with original written testimonies that further confirmed its identification, according to the brochure. In the years following Caravaggio's death in 1610, several imitations and works influenced by the original kept appearing, especially Artemisia Gentileschi's work of the same name. The exhibition is part of an art exchange with the Kiran Nadar Museum of Art (KNMA) which showcased veteran artist Gulammohammed Sheikh’s “How Can You Sleep Tonight?”. “Well aligned with KNMA’s mission to facilitate cross-cultural dialogue and expand access to transformative artistic experiences, this project offers a rare opportunity to our local audiences in particular, to view a Carravaggio painting, and encounter an artistic lineage that has fascinated generations of Indian artists,” Kiran Nadar, founder and chairperson of KNMA, said in a statement. The Caravaggio painting will be moved to KNMA from April 18 where it will be open to the public till May 18.