Magdalena by Pedro de Mena: Baroque Sculpture Analysis
Magdalena: A Masterpiece of Baroque Sculpture
1. Identification
- a) Museo Nacional de Escultura, Valladolid
- b) Pedro de Mena
- c) Baroque
- d) 1664
- e) Size: Natural
- f) Material: Wood
2. Historical Context
- a) Political: The 17th century in Spain marked the decline of its political dominance after controlling many European territories. The country faced a severe economic and demographic crisis.
- b) Economical: Agriculture was the primary economic activity. Animal husbandry, metallurgy, and shipbuilding declined. Domestic trade suffered due to increased customs duties.
- c) Culturally: The Baroque period reflected a shift from optimism to pessimism and realism.
3. Baroque Sculpture in Spain
Baroque sculpture in Spain is characterized by religious imagery carved in wood.
- a) Form:
- Tendency towards realistic human reproduction.
- Emphasis on detail.
- Limited nudity or idealized representation.
- Great importance given to detail.
- Materials used: wood, metal, and gold.
- b) Content: The subject matter is almost exclusively religious, primarily found in monumental court sculpture. These works often feature intricate imagery, employing the art of estofado (stew), followed by the application of colors. The figures were created for convents and churches, with realistic images, including real hair and clothing, intended to convey trust.
During the 17th century, two main schools emerged:
- Castellana: Based in Valladolid and Madrid, known for exaggerated realism, cruelty, and abundant expression, particularly in depictions of villains.
- Andaluza: Based in Seville and Malaga, characterized by serenity and balanced, beautiful imagery.
4. Analysis of “Magdalena”
“Magdalena” is life-sized and meticulously carved in cedar, a common material for select works. The sculpture is exquisitely detailed, particularly in the hands and feet. She holds a crucifix in her left hand and presses her right hand to her heart, preventing it from overflowing with emotion. The molding of the hands displays delicate and supreme elegance.
The figure retains much of its beauty but does not convey sensuality. Her appearance is secondary to her emotions, and her body is concealed under a cloak, obscuring the female form. She is depicted as a youthful figure with Hebrew profiles. The Magdalen’s slightly forward stance draws attention to her face, which is excited and focused on the crucifix, a symbol of redemption.
The face of the Magdalene, with dry lips, red eyes, and a tense neck, communicates pain and regret. This dramatic content is further emphasized by the tension in her fingers. Long, damp locks of hair appear to lead to the ground, symbolizing the weeping of women and concealing the body. In summary, the expression of Magdalena, with her eyes fixed on the cross and the tears on her face, reveals the repentance of her past as a sinner. The rustic robe tied with a rope and her bare feet symbolize the penance that accompanies sincere repentance. Her face, as in many of Mena’s figures, reflects a mystical vision rather than exacerbating the character’s suffering.
The figure is enhanced by a sober palette: ochre, brown, some reddish-brown (called “land of Seville”), and a few dark tones, preventing high contrasts that would detract from the dramatic content of the work.
5. About the Artist: Pedro de Mena
Pedro de Mena (1628-1688) was a Spanish Baroque sculptor specializing in religious imagery.
- a) Notable Works: The Painful One, Inmaculada, San Pedro de Verona, Los Reyes Católicos.
6. Function and Symbolism
- a) Function: Religious function, simultaneously symbolic, as repentance is necessary for redemption.