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In Western art

The early notion of Mary Magdalene as a sinner and adulteress was reflected in Western medieval Christian art, where she was the most commonly depicted female figure after the Virgin Mary. She may be shown either as very extravagantly and fashionably dressed, unlike other female figures wearing contemporary styles of clothes, or alternatively as completely naked but covered by very long blonde or reddish-blonde hair. The latter depictions represent the Penitent Magdalene, according to the medieval legend that she had spent a period of repentance as a desert hermit after leaving her life as a follower of Jesus. Her story became conflated in the West with that of Mary of Egypt, a fourth-century prostitute turned hermit, whose clothes wore out and fell off in the desert. The widespread artistic representations of Mary Magdalene in tears are the source of the modern English word maudlin, meaning "sickeningly sentimental or emotional".

In medieval depictions Mary's long hair entirely covers her body and preserves her modesty (supplemented in some German versions such as one by Tilman Riemenschneider by thick body hair), but, from the sixteenth century, some depictions, like those by Titian, show part of her naked body, the amount of nudity tending to increase in successive periods. Even if covered, she often wears only a drape pulled around her, or an undergarment. In particular, Mary is often shown naked in the legendary scene of her "Elevation", where she is sustained in the desert by angels who raise her up and feed her heavenly manna, as recounted in the Golden Legend.

Mary Magdalene at the foot of the cross during the Crucifixion appears in an eleventh-century English manuscript "as an expressional device rather than a historical motif", intended as "the expression of an emotional assimilation of the event, that leads the spectator to identify himself with the mourners". Other isolated depictions occur, but, from the thirteenth century, additions to the Virgin Mary and John as the spectators at the Crucifixion become more common, with Mary Magdalene as the most frequently found, either kneeling at the foot of the cross clutching the shaft, sometimes kissing Christ's feet, or standing, usually at the left and behind Mary and John, with her arms stretched upwards towards Christ in a gesture of grief, as in a damaged painting by Cimabue in the upper church at Assisi of c. 1290. A kneeling Magdalene by Giotto in the Scrovegni Chapel (c. 1305) was especially influential. As Gothic painted crucifixions became crowded compositions, the Magdalene became a prominent figure, with a halo and identifiable by her long unbound blonde hair, and usually a bright red dress. As the swooning Virgin Mary became more common, generally occupying the attention of John, the unrestrained gestures of Magdalene increasingly represented the main display of the grief of the spectators.

According to Robert Kiely, "No figure in the Christian Pantheon except Jesus, the Virgin Mary, and John the Baptist has inspired, provoked, or confounded the imagination of painters more than the Magdalene". Apart from the Crucifixion, Mary was often shown in scenes of the Passion of Jesus, when mentioned in the Gospels, such as the Crucifixion, Christ Carrying the Cross and Noli me Tangere, but usually omitted in other scenes showing the Twelve Apostles, such as the Last Supper. As Mary of Bethany, she is shown as present at the Resurrection of Lazarus, her brother, and in the scene with Jesus and her sister Martha, which began to be depicted often in the seventeenth century, as in Christ in the House of Martha and Mary by Velázquez.

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