Saint or sinner? Ten works that show why Mary Magdalene is one of the most controversial figures in the Bible

Few biblical figures have caused more fascination in society than Mary Magdalene.

Considered the first person to witness the resurrection of Christ and spread the news, the so-called "apostle of the apostles" has maintained passionate followers for centuries among religious and secular communities alike.

But the Bible presents relatively few references to Mary Magdalene. As a result, the mythology surrounding her has overshadowed her real figure.

Over time, the name Magdalene came to represent a combination of different biblical characters and historical notions. And some of these became associated with her name more powerfully than the biblical accounts themselves.

This is the question explored by the exhibition "Mary Magdalene. Sin. Prayer. Love", currently on display at the Städel Museum in Frankfurt, Germany.

"We essentially discovered that there are three Mary Magdalenes in one," says art historian Bastian Eclercy, one of the exhibition's curators.

"One is the anonymous sinner, another is Mary of Bethany, and the third is the biblical Mary Magdalene, strictly speaking."

As the title suggests, the exhibition examines the three main forms of representation of Magdalene.

"'Sin' represents the image of the sinner and penitent that has shaped perceptions over the centuries. 'Prayer' represents Mary Magdalene as a saint and disciple of Jesus; and 'Love' recalls the various notions of love, devotion and intimacy associated with her," Eclercy explains to the BBC.

Here, we look at ten works from the exhibition that illustrate the different visions of Mary Magdalene and the shifting perceptions of women over time.

The Elevation of Saint Mary Magdalene, by Albrecht Dürer (c. 1504-05)

In the woodcut on paper by German artist Albrecht Dürer (1471-1528), Mary Magdalene appears nude, being lifted toward the heavens by six angels.

The scene is inspired by the Golden Legend, a 13th-century text authored by Italian writer and archbishop Jacobus de Voragine (c.1230-1298).

In one of the popular stories included in the work, Mary withdraws to the south of France in search of solitude.

Mary Magdalene at the Sepulchre, by Giovanni Girolamo Savoldo (c. 1535-40)

In the oil painting by Italian artist Giovanni Girolamo Savoldo (c.1480-after 1548), Magdalene is not immediately recognisable.

But experts say that the small vase in the left corner and her red dress (generally associated with sensuality and danger), which appears beneath the silver satin cloak, help to identify her.

"Some argue that it could be Mary, the mother of Christ, as we don't have many obvious indications. But I believe it is Mary Magdalene because we have that alabaster jar," says professor of Christian studies Siobhan Jolley, from the University of Manchester, in the United Kingdom.

Jolley is the curator of an exhibition about Mary Magdalene to be held at the National Gallery in London in 2027. She notes that the jar is associated with the unidentified "sinful" woman in the Bible who anointed the feet of Jesus.

For her, the works of art that have depicted Magdalene over the centuries do not tell us very much about her as a real individual.

"They tell, at least to me, much more about what different cultures wanted women to be," according to Jolley.

Jesus Appears to Mary Magdalene, by Lavinia Fontana (1581)

Italian Mannerist painter Lavinia Fontana (1552-1614) depicts Magdalene in her characteristic red dress. It is one of the earliest illustrations of the saint by a female artist.

"You can look for a kind of female gaze, but we cannot detect it," according to Eclercy.

Fontana makes direct reference to a biblical passage in which Mary mistakes Jesus for a gardener. In the painting, he appears dressed as a traditional 16th-century Italian worker, wearing a tunic and a wide-brimmed hat.

Martha Rebukes Her Vain Sister Mary Magdalene, by Simon Vouet (1621)

Many historical and contemporary notions of Mary Magdalene associate her with different characters from the Bible.

These include an unidentified "sinful woman" who anointed Jesus's feet, an adulteress, and Mary of Bethany, a relative of two other biblical figures, Martha and Lazarus.

"It is what [art historian] Marina Warner calls the 'confusion of Marys,'" explains Jolley. "Artists do not differentiate between the various Marys, as long as she fulfills the role necessary for the painting or story to make sense."

In the painting by French artist Simon Vouet (1590–1649), Magdalene appears in an invented scene (not found in the Bible), at a dressing table, being rebuked by her sister Martha for being too vain.

The Penitent Magdalene, by Guido Cagnacci (1626–27)

Mary Magdalene in a state of contrition is a common metaphor in art history.

"She became a model for penitents, both men and women," according to Eclercy.

The Western tradition, in particular, came to associate Magdalene increasingly with sexual sin, which is evident in many paintings, such as this one by Italian artist Guido Cagnacci (1601–1663), whose themes of sexual desire are unavoidable.

There is no direct mention in scripture of what transgression the unidentified "sinful woman" committed, but many have assumed it was of a sexual nature.

"It is very common to hear her described as a sex worker, especially in older texts," Jolley points out, "but we have no real basis for this definition in the biblical documents."

"For artists, it is an opportunity to be a little daring with a sacred image. They know they can depict her with impunity as attractive or mildly sexualized, which is not something that can be done with other saints."

In Cagnacci's painting, Magdalene holds a skull, which is frequently used in art history as a reminder that life is brief and we must prepare our souls to meet God.

The Penitent Magdalene in Meditation, by Georges de La Tour (1635–40)

The "penitent Magdalene" version by French painter Georges de La Tour (1593–1652) is markedly gentler.

"I like de La Tour for giving us a kind of inner Magdalene," says Jolley.

"We have mirrors, candles, and other metaphors of time, mortality, and self-reflection, without the artist needing to make the painting appealing in other ways."

For this reason, one could argue that his paintings reject the traditional portrayal of women in art as erotic or decorative.

The Grief of Magdalene over the Body of Christ, by Arnold Böcklin (1867)

Swiss painter Arnold Böcklin (1827–1901) portrays a dramatic Magdalene, standing beside the lifeless body of Jesus.

Rather than following traditional depictions of Magdalene as submissive or overtly sexual, Böcklin creates this passionate figure, who allows herself to express all of her emotions, intensely mourning the death of Jesus.

For Eclercy, "in a way, Mary Magdalene takes on the role of the Virgin Mary, expressing the utmost grief that anyone can feel."

Christ and the Sinner, by Max Beckmann (1917)

Also known as Christ and the Adulteress, this painting by German artist Max Beckmann (1884-1950) depicts the famous biblical passage in which Jesus prevents an angry crowd from stoning an unidentified woman to death. Over time, this story has also become associated with Mary Magdalene.

In earlier works, Magdalene was openly sexualized, which "tells us more about what people imagine the worst of a woman could be," according to Jolley.

But Beckmann offers a more compassionate interpretation of this story.

Naomi Campbell as Mary Magdalene, by Marlene Dumas (1996)

The depiction of Magdalene as supermodel Naomi Campbell, by South African artist Marlene Dumas, addresses several ideas at once.

It not only "speaks about celebrity and reputation, something Mary Magdalene has faced over time," according to Jolley. "It invites us to think about how we ethnicize beauty."

There are few descriptions of Magdalene's physical appearance in the Bible. Yet in Western art, the saint is frequently portrayed as a young white woman.

Dumas offers us an alternative to consider.

"The work acts as a mirror for the audience... a reflection of society," according to Jolley. She notes that many people feel they know Magdalene, yet understand very little about her.

"People maintain a parasocial relationship with Mary Magdalene," she explains.

"They have a sense of her drawn from popular culture and art, which is actually not based on knowledge of the biblical figure, nor on any real interest in her."

The Challenge, by Nieves González (2025)

Spanish visual artist Nieves González manages to retain several of Magdalene's characteristic features, such as her reddish-blonde hair, her red clothing and the skull in her hands. But her work modernizes the famous figure, placing her in an oversized padded coat.

Eclercy believes González "presents a young, extremely self-assured woman."

Magdalene casts a fearless gaze at the viewer. "It is a work about power and autonomy," explains Jolley.

"You almost get the sense that she is sort of asking: 'What do you want to say about me?'"

The exhibition Mary Magdalene: Sin. Prayer. Love. is on display at the Städel Museum in Frankfurt, Germany, from September 17, 2026 to January 17, 2027.