How could this be painted by a human hand?

Every time I look at this painting, the same question comes to mind. How is it possible that this was painted by a human hand? This work was painted in the 17th century by the French artist Georges de Latour and it shows Mary Magdalene seated in a meditative pose with a candle and a mirror before her while she holds a human skull in her hands. Each of these objects serves to convey to us, as viewers, the idea that Mary is reflecting on the fleeting emptiness of earthly possessions. The lit candle represents the fragility of life which can flicker and fade at any moment while the skull in her hands reminds her that nothing is eternal. Yet something curious emerges in the angle of Mary's gaze. Her eyes pass over all these objects and drift into the distance, into a darkness that surrounds her. It is almost as if her thoughts have wandered and she longs for something beyond. To follow the direction of Mary's gaze is also to trace the band of light that falls from her chin to her chest and to notice how her neck becomes a slender arc of light crossed by the curve of her hair. One of the greatest pleasures in contemplating this painting is discovering how Latour constructed Mary's figure using only a narrow band of light. From her face and torso down to her feet, most of her body remains in shadow while the areas illuminated by the candle are painted with such attention to detail that they truly make us question whether this could have been created by a human hand. The story of this artist is quite unusual because despite being one of the most talented painters to have ever existed, he is also one of the least talked about today. In the 1650s, Louis XIII of France received a painting from a provincial artist from Lorraine in the far east of the country. It is said that the king was so moved by the work that he ordered all the other paintings removed from his room so he could contemplate only this one. This was perhaps the most remarkable moment of Latour's successful career. Yet, despite his fame and recognition during his lifetime, he would soon disappear from history after this event. The circumstances of this unlikely disappearance remain a mystery. We only know that shortly after his death, his works became detached from his name even though many were signed by him. Instead, they were mistakenly attributed to Dutch painters and to fellow French artists. As a result, Georges de Latour's legacy was fragmented and scattered among the oeuvres of others. For hundreds of years, the artist's name was absent from the historical narratives of art while his masterpieces quietly enhanced the reputations of other painters. It was not until the 20th century that Georges de Latour emerged from obscurity. In 1915, the German art historian Hermann Vos discovered a biographical reference and began reconstructing the artist's life and body of work. Yet, despite Vos's rediscovery and the efforts of later historians, very little is still known about Latour. No self-portraits have been identified and it remains uncertain where or how he was trained or what ultimately shaped his stylistic development. Georges de Latour's artistic style has often been compared to that of Caravaggio because of his extreme use of darkness and light, deep shadows and bright illumination. However, there are significant differences between the two painters beginning with the sense of calm conveyed by Latour's works in contrast to the often dramatic scenes depicted by Caravaggio. Another interesting point of distinction is that Caravaggio tended to place the light source illuminating his scenes outside the frame, allowing the light to flow into and across the canvas. Latour, however, almost always positioned the source of illumination within the painting itself. It frequently becomes the focal point, shining as the very core of the composition so that all other elements are arranged around it, creating a bubble of light and an intense vignette along the outer edges. The paintings thus become entirely self-contained and never rely on anything beyond the limits of the canvas to complete the scene. This is why the direction of Mary's gaze becomes even more intriguing. While the image is unified and enclosed by the effects of candlelight, her line of sight carries us beyond the visible boundaries of her surroundings. Latour painted at least four versions of Mary Magdalene, all of similar size and all portraying the saint as a seated, full-length figure illuminated by a burning flame. In the Bible, Mary Magdalene was present at several important moments in the life of Christ. She witnessed the crucifixion and was also present at the discovery of the empty tomb where Christ's body had been laid. During the medieval period, a tradition emerged that also identified Mary Magdalene with the anonymous sinful woman who fell at Christ's feet in repentance for her promiscuity. She wept over his feet, dried them with her hair and then anointed them with myrrh from a jar. From this story came her key attributes in art, especially her long hair and the jar of ointment which in this painting appears on the right side beside the mirror. This version of Mary Magdalene focuses above all on the act of silent solitary meditation. As a sign of her atonement for the worldly life she has left behind, she has placed her pearl necklace on the dressing table and abandoned the rest of her jewelry on the floor as if it no longer holds any value for her. And once we understand who Mary Magdalene was, it becomes possible to read with greater nuance the meaning of the mirror's presence in the painting. But before talking about the enigmatic meaning of this mirror, I'd like to remind you that if you would like to collect this painting in your home, it is now possible by purchasing it from our website. In the link provided in the description, you can explore many more works by Georges de La Tour and you'll also find more than 800 carefully selected pieces to help you begin your own art collection. Shipping is free worldwide and by purchasing from the store, you'll be supporting me tremendously in continuing to create videos like this every week. Now, let's continue. Obviously, the mirror represents reflection, the act of looking at oneself and of course, looking at oneself can be interpreted in two seemingly contradictory ways. First, as a virtue associated with truth since it is said that the mirror does not lie and second, as a distortion of truth linked to vanity and the darker quality of self-obsession. Yet perhaps these two readings are not so contradictory after all. What unites them is a sense of revelation. A mirror does not simply return an image, it can also suggest a hidden truth as if it were a window into an anti-world, a rougher or deeper version of our own. Therefore, as a medium of revelation, the image that appears in a mirror can be understood as something that exposes more than mere surface appearance. In art, the presence of a mirror often serves an allegorical purpose. It is a way of hinting that a deeper truth lies beneath what we see. In this painting, the way the mirror duplicates the flame of the candle seems to suggest something more, that there is a second dimension beyond the visible, a spiritual life that coexists with the earthly one and deserves more attention than the pearls, rubies and gilded mirrors of the physical world. Thank you very much for making it to the end of this video. Don't forget to subscribe to keep learning about art every week and leave me a comment with your thoughts on this artist. Thank you for your support and I'll see you in the next video.