[3] The painting is constructed from three pieces of canvas, with the strip running down the left hand side and the chair upon which the signature is found being a possible later addition.

[3] Raymond Ward Bissell claims these elements, as well as the color scheme of gold, red and green, can be understood in this painting as the Florentine Baroque style.

[3] Gentileschi was known for her innovative interpretations of traditional subjects: she brought a womanly perspective to an otherwise male-dominated field, and therefore commonly expressed stories of heroism by women.

[2] This scene is further supported as a moment of conversion as Mary pushes away a mirror (a symbol of vanity) inscribed with the words Optimam partem elegit (“You have chosen the best part”).

[4] The quote is from the Bible, Luke 10: 41–42, in which Jesus teaches Martha that her sister Mary has made a better choice in embracing a spiritual life.

[3] It is improbable that this phrase was added by Gentileschi, but at a later point in time, as is suggested by the words appearing in the gloss of the canvas.

[3] The exaggerated gesture of Mary's left arm and her turning away from the jewelry box next to her together indicate that she is refusing vanity.

[8] Though Gentileschi was not allowed to travel freely due to her gender and regard for her well-being, she had access to paintings by Caravaggio later in life through her local church, Santa Maria del Popolo, where she could view the Crucifixion of St. Peter and Conversion on the Way to Damascus.

[9] In 1620, Gentileschi returned to the town where her father Orazio lived, Genoa, making her stay at the academy between the years 1616 and 1620, when the Penitent Magdalene was painted.

[6] Despite this, and being illiterate, Gentileschi learned to read, and maintained correspondences with the like of Don Antonio Ruffo, Cassiano dal Pozzo, Duke Francesco I d’Este and Galileo Galilei.

[7] The work was likely commissioned by the Grand Duchess Maria Maddalena, wife of Cosimo II de Medici.