From Art Into Art

From Art Into Art A Carefully Curated, Daily Selection of Fine Art Pieces to Inspire The Next Millenia of Fine Art Pieces. All Art Comes From Art.

Absorb the Beauty of a Millenia of Creativity, and Transform that Inspiration From Art Into Art.

Our Lady of the Rosary with Saint Dominic and Saint Rose. Unknown (Quito School). circa 1750. Lima Art School
05/28/2026

Our Lady of the Rosary with Saint Dominic and Saint Rose. Unknown (Quito School). circa 1750. Lima Art School

Virgin of the Rosary of Pomata. Unknown Artist. circa 1750. Museum of Colonial Art
05/27/2026

Virgin of the Rosary of Pomata. Unknown Artist. circa 1750. Museum of Colonial Art

“The Master of the Mansi Magdalene, named by Friedländer after a painting formerly in the collection of the Marchese Gio...
05/21/2026

“The Master of the Mansi Magdalene, named by Friedländer after a painting formerly in the collection of the Marchese Giovannni Battista Mansi, and acquired by the Gemäldegalerie, Berlin in 1897, remains a somewhat mysterious figure working in Antwerp during the 1520s and 1530s. A follower of Quinten Massys, very little is known about his career, though he frequently employed engravings and prints by Dürer and Lucas Cranach the Elder as models for his works, a phenomena which had become increasingly wide spread during the early 16th century.

This panel shows the Magdalene, wearing a faintly exoticised red, fur-lined dress, standing in a rocky landscape, with a traveller on the road behind her. In her left hand she holds the lid of an elaborately worked gold pot (her usual attribute), the base of which rests on a ledge in the foreground. In her right, she rests a richly bound Book of Hours with an ornately gilded and tooled fore-edge, the open pages of which display the wide yellow borders embellished with large, naturalistic flowers invariably found in devotional texts illuminated in Bruges and Ghent during the late 15th and early 16th centuries.

We are grateful to Peter van den Brink for confirming the attribution after inspection of the original.”

Source: Christie’s

The Magdalene Holding a Book of Hours in a Landscape. The Master of the Mansi Magdalene. 1515-1525. Private Collection

What is the meaning of depicting Mary Magdalene with red hair? Scarlet hair is symbolic of both sin and love. For Magdal...
05/21/2026

What is the meaning of depicting Mary Magdalene with red hair? Scarlet hair is symbolic of both sin and love. For Magdalene it represents her prior life of sexual immorality and her new life of passionate love for Christ.

Being symbolic of both sin and love, the paradox of Saint Mary Magdalene is made manifest in her hair, as it is precisely her prior life of sin which makes her penitence powerful.

Mary Magdalene is often depicted looking at a skull to show her pondering death and the consequences of sin. We know that in her penitent devotion, she became a saint. Christ saved her from the ultimate result of sin by joining her to him in eternal life.

We can see the beauty of St. Mary Magdalene in her hair. For though it was the symbol of her sin, now it has been washed clean to show the more beautiful love she has for the divine. This is represented in the gospel when she washes the feet of Jesus with her hair. As she washes his feet with her hair, he washes her hair with his feet— for when the penitent touches the body of Christ, they are cleansed.

Though she was physically beautiful in her sin, the beauty was corrupted and therefore fleeting. Physical beauty is good, but it is only in joining itself to the divine that it transcends to become truly beautiful in the highest sense.

Mary Magdalene’s physical beauty is an indicator of the greater beauty of her Creator. In joining herself to him in the Body of Christ as a Saint, she became part of Beauty itself in the perfection of the Kingdom of Heaven.

“Beauty is a key to the mystery and a call to transcendence. It is an invitation to savour life and to dream of the future. That is why the beauty of created things can never fully satisfy.” — Saint John Paul II

Mary Magdalene. Frederick Sandys. 1862. Norfolk Museums Collections

Christina Rossetti was the sister of Pre-Raphaelite artist, Dante Gabriel Rossetti (the featured artist). Christina was ...
05/21/2026

Christina Rossetti was the sister of Pre-Raphaelite artist, Dante Gabriel Rossetti (the featured artist). Christina was a writer, poet, and painter whose own work was both influenced by and partially a part of the Pre-Raphaelite movement her brother had helped to begin.

Christina had been betrothed to James Collinson, another of the founding Pre-Raphaelites, but while Christina and her family had adopted the beliefs of the Anglo-Catholic movement, they were still members of the Church of England. Her fiancé, however, had gone a step further and fully converted to the Catholic faith, but he had reverted to Anglicanism largely because of his love for Christina.

Before they were to be wed, Collinson went back to his Catholic faith and broke off the engagement. Christina was crushed by this, and her heartbreak influenced a great deal of her art. She never married.

Christian volunteered at St. Mary Magdalene’s Penitentiary, a home for women who had been ostracized from society for sexual sins, such as prostitution. The refuge’s namesake was taken because, like Saint Mary Magdalene, the women sought to be redeemed, and the home offered a chance at that redemption.

Mary Magdalene. Dante Gabriel Rossetti. 1877. Delaware Art Museum

Mary Magdalene (circa 1859) by the Pre-Raphaelite painter, Frederick Sandys. This painting is on display in the Delaware...
05/20/2026

Mary Magdalene (circa 1859) by the Pre-Raphaelite painter, Frederick Sandys. This painting is on display in the Delaware Art Museum.

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