Soon to go on display at the National Gallery of Art in DC, it took a female artist to portray the biblical figure not as shamed and repentant but in the throes of ecstatic rapture

A woman knocks her head back. Her eyes and mouth are closed but she is awake. With flushed cheeks, red lips and long, golden hair, she glows from a sharply lit flame in a room otherwise cloaked in darkness. Wearing textures ranging from a lace-trimmed chemise blouse – slipping down her right shoulder and exposing her porcelain skin – to a heavy yellow and purple material, she appears to be alone. Unaware of our presence, she exists in a state of sublimity, but also freedom.

The woman we are looking at is Mary Magdalene “in ecstasy”, painted in the early 1620s by Artemisia Gentileschi, the Italian baroque artist famed for her heroic and powerful depictions of mythological and biblical women. Recently acquired by the National Gallery of Art in Washington, DC, it will go on view – free of charge – from 24 February. While it is, monumentally, the institution’s first acquisition by Gentileschi, it is also a picture that shows the saint “neither repentant nor suffering”, as curator Letizia Treves has written. An important distinction because, for centuries, Magdalene’s image has been shaped not just by scripture, but fabulated and conflated by powerful men.