Madeleine of Bourgogne presented by St. Mary Magdalene 1490

Curator: Oil on panel, painted around 1490. We're looking at Jean Hey’s, or the Master of Moulins' portrait of "Madeleine of Bourgogne presented by St. Mary Magdalene." It resides here at the Louvre, which seems entirely fitting, don't you think? Editor: Oh, absolutely, though I initially find it striking how pale and almost otherworldly both figures appear. There is something profoundly still and somber in the piece. Curator: Indeed. Jean Hey certainly captured the aristocratic pallor of the time, a real contrast with the vibrant jewel tones of their garments. What stands out to me is the composition. Madeleine, on the left, gazes upwards with a touching mixture of hope and supplication, while Mary Magdalene, regally positioned, presents a jar to her, an offering, maybe even redemption itself? Editor: This notion of offering is essential to unpacking Hey’s work. St. Mary Magdalene as this conduit – as we examine her placement adjacent to the Burgundy family, it positions the Burgundy women as vessels and offers access into more profound sociopolitical ties that affect not only Burgundian, but larger European royal families. We should keep in mind the fraught historical context that shaped its production. Curator: And I'm completely drawn to how tenderly the artist rendered the details. The almost ethereal halo around Mary Magdalene's head. Editor: Those nuances you pointed out - are key here when you compare to paintings created under similar European aristocratic sponsorship. Hey uses the Magdalene, herself a misunderstood figure, to lend the subject—Madeline, whose image bears this unique mixture of strength and grace – legitimacy and favor at the royal court. Curator: Thinking about these elements, I consider the idea of presentation in royal portraiture. Editor: Yes, by subtly contrasting each woman’s garb, Hey visualizes how they would both, inevitably, operate in relationship to male authority and court expectations. This positioning of the two Madeleines visualizes female relationship to not only spirituality but worldly royal authority. Curator: A painting with layers of personal, devotional, and historical resonance then. It will resonate with anyone familiar with European royal houses or with the power held, even through something as simple as painted presentation. I appreciate the ways it weaves intimate faith with those global structures. Editor: Agreed. Viewing art this way certainly expands our engagement, as both appreciators and conscientious global citizens.