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In contemplating this “portrait” of Mary Magdalene by Antonio Veneziano, one discerns how, in the crucible of the Most Serene Republic, the Italian genius ushered in the art of the Renaissance via a subtle alchemy of influences. Through the reception of French Gothic art of great originality he transmuted the ossified Byzantine forms of the Orient into an innovative rediscovery of ancient art.
Here we see “the sinner of love” represented not as a peniten… [More]