When the Conversion Narratives team went to Fort Worth, Texas for the Sixteenth-Century Studies conference in October last year, we were lucky enough to catch an incredible exhibition, ‘Caravaggio and his Followers in Rome’ at the magnificent Kimbell Art Museum. We particularly enjoyed the chance to spend some time face-to-face with Caravaggio’s potent image of Martha and Mary Magdalene, often called ‘The Conversion of Mary Magdalene’.
The image, which is usually housed in the Detroit Institute of Arts, where you can zoom in to see much of the fine detail of the painting, depicts an earnest Martha persuading a lavishly-dressed Mary of her sins. For Roman viewers, the scene would have gained a particular frisson from their knowledge that the sitter who portrayed Mary was a well-known courtesan, Fillide Melandroni (Martha may have been another courtesan, Anna Bianchini) — so that the dynamic of the painting is frustrated by the non-conversion of the real-life counterpart to this ambiguously pious figure. Continue reading