Circle of JOSEFA DE ÓBIDOS (Seville, 1634 - Óbidos, Portugal, 1684). "Mary Magdalene divesting herself of her possessions". Oil on canvas. Re-retouched. It presents repainting. Measurements: 96,5 x 76 cm. In this image the image of Mary Magdalene is presented to in a theatrical way. This one is slightly displaced to the left of theposition with the intention of showing the spectator the jewels that are on the table and those that have fallen to the floor. Th showing a disinterest in the material in favour of the heavenly, to which the young woman is turning. The disregard of material things in order to choose the way of God was amon element in the lives of many saints such as St. Rosalia, St. Catherine of Alexandria, St. Elizabeth of Hungary and Mary Magdalene herself. Mary Magdalene is mentioned in the New Testament as a distinguished disciple of Christ. According to the Gospels, she hoed and provided materially for Jes and his disciples during their stay in Galilee, and was present at the Crucifixion. She was a witness to the Resurrection, as well as the one in charge of transmitting the news to the apostles. She is also identified with the woman who anointed the feet of Jes with perfumes before his arrival in Jeralem, which is why her main iconographic attribute is a knob of essences. Alone, Mary Magdalene is often depicted in a variable of the one presented here, doing penance in the desert, repentant for her past sins. The story of this saint serves as an example of Christ's forgiveness, and conveys the message of the possibility of redemption of the soul through repentance and faith. The work has aesthetic similarities with the painting by Josefa de Ayala y Cabrera, known as Josefa de Óbidos, an artist of the second half of the 17th century, who developed her career in Portugal. Her father, Baltasar Gómez Figueira, went to Seville around 1626, at a time when Portugal and Spain were unified. He began working in the workshop of Francisco Herrera the Elder, Josefa's future godfather, with whom he spent the first years of his life before returning to Óbidos, his father's hometown. Josefa decided to devote herself to painting, beginning to work alongside her father. One of the first genres they developed and thanks to which they gained fame and fortune were still lifes, as it was a subject that was not practised in Portugal and proved to be a fantasticmercial success. He had a close relation with the ecclesiastical sphere, which facilitated themissioning of numero works in churches and convents. His fame continued to grow after he wasmissioned to paint the famo portraits of the royal family. His painting, as can be seen in this work, shows the influence of the tenebrist naturalism that characterised his father's style, but he developed his own personality as a reflection of a particular poetic intuition, with a loose palette and free of academic impositions, focing on the detail of the decorative elemen