Magdalene Penitent (1453-1455) stands out for its realism and expressivity: his interpretation presented an alternative to the traditional depictions of Magdalene, which show a beautiful and healthy young woman. Saint Mary Magdalene, one of Christ’s followers, was the first to see him after his Resurrection. She lived a life of sin (being a prostituted woman), and at the end of her life, she spent some 30 years living as a solitary penitent in the wilderness. Donatello’s statue describes Saint Mary Magdalene during this stage, living a life of penance: her body is emaciated from fasting, and she has covered herself with her long hair. Though her figure is battered, her position and expression display not only regret but also survival and perseverance. Even in earlier sculptures such as Zuccone (Statue of the Prophet Habakkuk) (1425) and the wooden Saint John the Baptist (1438), Donatello’s expressive style successfully captured the emotional turmoil of his subjects. However, in his late manner of the 1450s, Donatello amplified the expressive qualities of his art, as is evident in Magdalene Penitent and the bronze Saint John the Baptist (1457).

Many details about Magdalene Penitent remain unknown: the precise date of creation, the original location, and the patrons. Documentation shows that the statue was in the Baptistery of Florence as early as 1500, where it remained until 1966 when it was swept away during the flood of the Arno River in Florence. After the statue was recovered and restored, it was moved to its present location, the Museo dell’ Opera del Duomo in Florence. The restoration process revealed the original polychrome and gilding of the wooden statue.

There are numerous examples of Mary Magdalene as a penitent in Florentine art before Donatello’s Magdalene Penitent. One possible source for Donatello’s prototype is a panel painted by a late 13th-century master at the Accademia in Florence. The panel consists of a central image of Mary Magdalene, surrounded by eight different scenes from her life. She holds an inscription which states that those who sinned should not despair and return to God by following her example. Donatello’s statue belongs to a subgroup of five 15th century wooden statues that depict the subject of Magdalene as a penitent. In all cases, the statue is approximately a life-size figure of Magdalena covered by her long hair, usually holding her hands together as a sign of prayer. The earliest of these is in Pescia: the statue shows Magdalene in a calm state with a peaceful expression. Donatello remodeled this prototype - his expressive sculpture highlighted the physical and mental agony of her condition but also her strength and resolve to pursue penance. Donatello’s depiction of Magdalene influenced later works in both painting and sculpture. Some notable examples include Desiderio da Settignano’s wooden statue Petinent Magdalene (ca.1455), Filippino Lippi’s panel Mary Magdalene (ca. 1500), and the figure of Mary Magdalene in Botticelli’s Trinity (ca. 1491-1493).