From faithful apostle and seductress to feminist icon, Mary Magdalene's many complex roles in Christian history have fascinated us for 2000 years. Illustrated in full colour, this visual history reveals how images and presentations have created a Mary who is often far different from the real woman, the first witness of the Resurrection in the gospels, or even from her appearances in the works of the Church Fathers. Beginning with the earliest sources, uncover who the real Mary was, and what she meant in her own time, before embarking on a fast-paced tour of Magdalene's depictions in great works of art, forgotten masterpieces and contemporary visual culture. Considering relics, statuary, paintings, sculpture and recent works for stage and screen, discover how Mary Magdalene has been seen across time as a witness, a sinner, a penitent, a contemplative, a preacher and a patroness. Above all her complex roles, Mary has emerged as a powerful feminist icon, the closest person to Jesus himself, with a visual history as rich and varied as the roles she has fulfilled in numerous contexts of faith and worship for two millennia.

Ingrid Maisch in this study of Mary Magdalene leads her readers throughout the centuries, developing the images of Mary current in each era, showing that she is always a bellwether for the image of woman at a particular time.

Mary Magdalene, Iconographic Studies from the Middle Ages to the Baroque examines the iconographic inventions in Magdalene imagery and the contextual factors that shaped her representation in visual art from the fourteenth to the seventeenth centuries. Unique to other saints in the medieval lexicon, images of Mary Magdalene were altered over time to satisfy the changing needs of her patrons as well as her audience. By shedding light on the relationship between the Magdalene and her patrons, both corporate and private, as well as the religious institutions and regions where her imagery is found, this anthology reveals the flexibility of the Magdalene’s character in art and, in essence, the reinvention of her iconography from one generation to the next.

This innovative and multidisciplinary collection visits representations and interpretations of Mary Magdalene in the medieval and early modern periods, questioning major scholarly assumptions behind the examination of female saints and their depictions in medieval artworks, literature, and music. Mary Magdalene’s many and various characterizations from reformed prostitute to conversion-figure to devotee of Christ to "apostle to the apostles" to spiritual advisor to the Prince of Marseilles to hermit in the desert, to list just a few examples, mean that the many conflicted representations of Mary Magdalene apply to a staggering variety of cultural material, including art, liturgy, music, literature, theology, hagiography, and the historical record. Furthermore, Mary Magdalene has grown into an extremely popular and controversial figure due to recent books and movies concerning her, and due to a groundswell of general speculation concerning her relationship to Jesus: was she his acquaintance, follower, companion, wife, family-member, or lover? This volume employs a broad spectrum of theoretical methodologies in order to present poststructuralist, postcolonial, postmodernist, hagiographic, and feminist readings of the figure of Mary Magdalene, addressing and interrogating her conflicting roles and the precise relationship between her sacred and secular representations.

The Gospel of Mary, the only known gospel that is named after a woman, has aroused new interest in the figure of Mary Magdalene and the beginnings of Christianity. What was her impact and her message? What became of her and her ideas? This book examines the Gospel of Mary to discover what it reveals about Mary Magdalene and to determine the origin of its portrayal. It proposes a new perspective on matter and nature in the Gospel of Mary, suggesting that it is not to be categorized as a gnostic writing. Furthermore, the study argues that Mary's teaching in the Gospel of Mary is more closely related to the writings of Philo, the letters of Paul and the Gospel of John than to the Nag Hammadi Codices. As such, the Gospel of Mary and its portrayal of Mary Magdalene cannot be seen as evidence of a specific gnostic esteem for Mary Magdalene, but rather demonstrates the esteem of believers belonging to a broader Christian context.