If you feel like you have seen The Penitent Magdalene before its because you probably have. Or at least you've seen one of them.

Between the 16th and 18th century the Catholic Church had artists all over Europe pumping out metric butt-loads of over dramatic religious images, and the Magdalene was a favorite. This was done in an attempt to weaponize some of Christianity’s favorite stories against the growing protestant movements throughout Europe, a strategy that the world of art history calls Baroque period.

This Magdalene is one of the more uniquely important ones however because it was not just made by any Baroque artist, but rather “the” Baroque artist of 16th century Spain. Bartolomé Esteban Murillo was a big shot when it came to religious imagery, and is one of those oh-so lauded individuals who eventually acquired the title “Old Master.”

But where history remembers him for his Bible illustrations and portraits of blushing peasant girls, it should also be noted that he was also a stone cold capitalist. When the church asked for pictures, Ol’ Barty here delivered with the kind money grubbing shamelessness that would make Ayn Rand’s toes curl. Bartolome painted at least five Magdalene's over the course of his career, two of which are near mirror images of one another. The two being this one, and one located in The National Gallery of Ireland. But he didn’t stop there. He made at least twelve paintings of the Immaculate Conception, and around thirteen of Madonna holding Baby Jesus. Of course each one is named a little differently, but the images themselves are so similar that if you were confronted with a gallery of his work you would get a strong and continual sense of deja vu.

To be fair, each and everyone of his paintings are flawlessly beautiful and excellently capture the feelings and emotions of the drastically faithful. Still, one can’t help but wonder if Bartolome could have at least mixed it up a little. But you know what they say, there is nothing original under the sun.