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Best known as a fresco painter, Luini painted during the period known as the High Renaissance. Strongly influenced by Leonardo da Vinci, The Conversion of the Magdalene reveals typical Renaissance compositional qualities shared by many Italian Renaissance artists. A glowing light falls gently on Mary Magdalene's face. The two figures are placed solidly within the picture frame, and the composition is ordered yet varied, stable without being static.

Notice how Luini delineates the two figures without outlining them. The forceful modeling of the hands and facial features, so reminiscent of Leonardo, is referred to as sfumato ("smoky"). The word describes the way the artists blurred and softened the edges of compositional elements to render a more natural look.

According to common legend, Mary Magdalene, depicted on the right, had led a sinful life. Luini's painting shows the moment of her conversion. Notice the hand gestures of the two women. Martha, Mary's sister, points toward heaven; Mary repeats the gesture to indicate that she too will follow Jesus' teachings.

Luini painted this scene using oils, then a relatively new medium. Oil paint allowed artists to make objects and figures appear more three-dimensional. Earlier artists had used tempera--an egg-based paint--which gave painted forms a flatter appearance.

This painting is a gift of philanthropists Anne R. and Amy Putnam, two sisters that were among the original donors to the Museum (then known as the Fine Arts Gallery). Their donations of European master paintings helped to establish the strength and reputation of the Museum's collection.

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