Penitent Mary Magdalene (1583). Paolo Veronese (Italian, 1528-1588). Oil on canvas. Museo del Prado.

A crucifix, a skull, a book and a few branches are all Veronese needed to set the scene, and while the palette is still rich in bright colours, the canvas is imbued with a tranquility resulting from the celestial light illuminating the saint`s serene visage. She is shown at the moment of revelation and her emotion is visible in her tremulous lips and upturned gaze.

Annunciation (c.1560). Paolo Veronese (Italian, 1528-1588). Oil on canvas. Fundación Colección Thyssen-Bornemisza.

Mary is located in the enclosed side of the composition. Kneeling at a desk, she has been interrupted in her reading by the angel. She accepts the divine message, as the position of her hands indicates, as does the ray from the Holy Spirit that enters her heart. Mary turns her body at a pronounced angle towards the delicate, graceful angel that arrives on a cloud, floating on air.


4,000 Houses for 4,000 Followers: No. 72:

Palazzo Ducale, Venice, Italy. It also also known as the Doge’s Palace. 

It is now run as a museum. 

A majority of the palace dates from the 15th century, although some areas are earlier. Almost every major Venetian painter is represented in the palace.