This intimate oil sketch by Maurice Denis distills one of Christianity's most charged encounters into the flat, luminous vocabulary that defined the Nabis movement at its most spiritually ambitious. Executed in 1895, the work depicts the moment of recognition between Mary Magdalene and the risen Christ, rendered with the decorative economy and symbolic compression Denis had absorbed from Gauguin and Byzantine sources alike. The composition leans toward abstraction without surrendering legibility, its simplified contours and tender chromatic unity reflecting Denis's belief that painting was, above all, a surface of ordered sensations in service of devotional feeling. The sketch's purpose as a preparatory study for a stained glass window is legible in every formal decision Denis made. The figures read as contained fields of color rather than modeled volumes, their edges behaving like lead lines holding light within shaped reserves of glass. This translation from oil to light, from painted surface to transmitted radiance, was central to Denis's larger project of renewing sacred art in France during the 1890s, a period when he was simultaneously producing easel paintings, decorative panels, and ecclesiastical commissions with remarkable cohesion of vision. Signed by the artist, the sketch carries the dual authority of a finished work and a document of creative process. For collectors drawn to the intersection of Post-Impressionism, symbolism, and the decorative arts, this piece occupies a rare position. It is both a window into Denis's working method and a fully resolved object in its own right, one that holds the devotional quietude and visual sophistication that distinguish his finest productions from this pivotal decade.