Mary Magdalene Kneeling (Madeleine a genoux) is a poignant print created by Jean-Baptiste-Camille Corot in 1858. This work is an important example of the cliché-verre process, a hybrid technique merging drawing and photography popular among artists of the French Barbizon School. Corot frequently embraced this experimental medium, which allowed him to achieve a tonal richness and intimate scale similar to drawing, while permitting multiple editions for wider dissemination. The subject matter, rooted in biblical narrative, depicts the penitent Mary Magdalene in a deeply spiritual and reflective pose.
The cliché-verre process involves drawing or scratching directly onto a sensitized glass plate which is then exposed onto photographic paper, resulting in a unique type of print. Corot utilized the technique to explore light and shadow with exceptional subtlety. Dating to the height of the mid-nineteenth century, this piece reflects artistic trends prevalent during the 1851 to 1875 period in French art, where artists often moved between traditional academic painting and more personal, immediate forms of expression. Corot, though known primarily for his expansive landscapes, demonstrated a lifelong interest in figure studies and religious subjects, rendered here with characteristic delicacy and atmospheric effect.
In this composition, the Magdalene is positioned low, emphasizing her humility and devotion. Corot’s manipulation of tone elevates the religious figure, presenting a study that feels immediate and contemplative rather than strictly historical. As a fine example of nineteenth-century French prints, Mary Magdalene Kneeling (Madeleine a genoux) showcases the innovative spirit of the artist and his exploration of emergent media. The original impression is held in the permanent collection of the National Gallery of Art, providing critical access for scholars and the public. Prints of this significant work, alongside many others by Corot, are often made available through public domain initiatives.
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