Luke 7:37–38 · Mary Magdalene in the tradition of the anointing woman

Mary Magdalene

A woman with long golden hair holds a small pale ointment jar near her chest against green patterned fabric, in Frederick Sandys’s Mary Magdalene.
Frederick Sandys, Mary Magdalene, c. 1859.
When a sinful woman from that town learned that Jesus was dining there, she brought an alabaster jar of perfume. As she stood behind Him at His feet weeping, she began to wet His feet with her tears and wipe them with her hair. Then she kissed His feet and anointed them with the perfume.
Luke 7:37–38 · Berean Standard Bible
About the painting

A small jar rests against her chest, held close beneath a fall of golden hair. Frederick Sandys concentrates on a single, still figure, inviting us to pause before the tears and anointing described in Luke.

What does Mary Magdalene show?

The woman turns toward the left, her face framed by long, loose hair. She holds a pale decorated jar near the opening of her red garment. Green patterned fabric surrounds her, and the close framing leaves little space between the figure and the picture’s edges. Her gaze is directed away from the viewer.

The title names Mary Magdalene, while the ointment jar provides the connection to the woman who anoints Jesus. This connection belongs to a later tradition: Luke does not name the woman in chapter 7. Read alongside that passage, Sandys’s image can suggest a moment of inward resolve, but the painting does not show the encounter itself.

What does Luke 7:37–38 mean?

Luke 7:37–38 describes an unnamed woman who learns that Jesus is dining in a Pharisee’s house. She brings perfume in an alabaster jar, weeps at His feet, wipes them with her hair, kisses them, and anoints them. Luke calls her sinful but does not specify her sins or identify her as Mary Magdalene.

When the host questions Jesus’s acceptance of her, Jesus tells a story of two forgiven debts and asks which debtor will love more. The woman’s actions become central to His teaching about forgiveness and love. The passage ends with His assurance that her faith has saved her and His sending her away in peace.

Luke 7:37–38 gives the jar and unbound hair their narrative setting, while Sandys’s still figure leaves room to consider the trust involved in approaching Jesus.

Sources

Delaware Art Museum — Mary Magdalene. Owning collection’s date, materials, and painting dimensions.

Delaware Art Museum Store — artwork reproduction. Museum-published image of the painting.

Luke 7 — Berean Standard Bible. Verses 36–50 describe the unnamed woman, her anointing of Jesus, and His response.

Search Visio Divina