Symbols of Vanitas

What are the expressive elements in art of the emptiness and ephemeralness of life?  Repentant Magdalene, by French artist Georges de la Tour (1593-1652), has many such elements in one place.  In this strongly constructed painting, glistening light and deep darkness compare and contrast each other.  The contrast creates absolute silence.  In the foreground sits the repentant sinner in a monumental and clam manner, mediating on the transitory nature of life, as the symbols of vanitas--the skull, the mirror, the candle, and the jewelry-represent. 

Repentant Magdalene ca. 1635-40, oil on canvas, 134x92 cm

What is interesting is that Gustave Dore (1832-1883), in an illustration depicting the same biblical tale, chose to use only one symbol, the skull.  It is questionable whether Dore had even seen de la Tour's earlier work, because de la Tour was forgotten for centuries and it was not until the 20th century that his works were rediscovered and became famous.

Mary Magdalene Repentant, ca. 1865, Gustave Dore

Certain commonalities of the two great pieces, created centuries apart, are simply amazing.  This is particularly so since the Book of Luke (relevant portion excerpted below), from which the story originates, mentions nothing about most of the depicted details.  

" ³⁷And, behold, a woman in the city, which was a sinner, when she knew that Jesus sat at meat in the Pharisee's house, brought an alabaster box of ointment,

 ³⁸And stood at his feet behind him weeping, and began to wash his feet with tears, and did wipe them with the hairs of her head, and kissed his feet, and anointed them with the ointment.

 ³⁹Now when the Pharisee which had bidden him saw it, he spake within himself, saying, This man, if he were a prophet, would have known who and what manner of woman this is that toucheth him: for she is a sinner.

 ⁴⁰And Jesus answering said unto him, Simon, I have somewhat to say unto thee. And he saith, Master, say on.

 ⁴¹There was a certain creditor which had two debtors: the one owed five hundred pence, and the other fifty.

 ⁴²And when they had nothing to pay, he frankly forgave them both. Tell me therefore, which of them will love him most?

 ⁴³Simon answered and said, I suppose that he, to whom he forgave most. And he said unto him, Thou hast rightly judged.

 ⁴⁴And he turned to the woman, and said unto Simon, Seest thou this woman? I entered into thine house, thou gavest me no water for my feet: but she hath washed my feet with tears, and wiped them with the hairs of her head.

 ⁴⁵Thou gavest me no kiss: but this woman since the time I came in hath not ceased to kiss my feet.

 ⁴⁶My head with oil thou didst not anoint: but this woman hath anointed my feet with ointment.

 ⁴⁷Wherefore I say unto thee, Her sins, which are many, are forgiven; for she loved much: but to whom little is forgiven, the same loveth little.

 ⁴⁸And he said unto her, Thy sins are forgiven." (KJV Luke 7:37-48)

It must have taken a lot to complete the artistic transformation from the scripture to the later derivative art works.  What remains puzzling to me is why both artists chose to focus on the moments, either before or after her meeting with Jesus, but not during.