A bishop and two nuns at an altar, with a bishop healing a possessed woman in the background 1684 - 1764

Editor: This ink drawing, "A bishop and two nuns at an altar, with a bishop healing a possessed woman in the background", comes from between 1684 and 1764, the artist remains anonymous, and it's currently located at the SMK. There's a lot going on – it feels busy but the architectural frame helps contain the chaos. What strikes you most about the piece? Curator: The articulation of form through line is quite compelling. Observe how the artist uses varying densities of hatching to create volume and shadow, lending weight to the figures' drapery and the architectural elements. What impact does the monochromatic palette have on the overall composition, do you think? Editor: It makes it feel a bit detached, like observing a scene rather than being immersed in it. The lack of color feels distancing. Is that common for drawings like this? Curator: Precisely. The reduction to line and tone invites a focus on structure and form, the intellectual rather than the emotional, shall we say? Note the almost diagrammatic representation of space; perspective is suggested rather than rigorously applied. It prioritizes the articulation of the figures and the unfolding narrative. Do you observe any patterns or relationships between the different groupings of figures? Editor: It feels almost like two separate vignettes – one happening in the foreground and one in the background. Almost like a split-screen effect. Curator: Precisely. Consider then how the artist organizes these scenes in terms of balance and rhythm. The Bishop’s gesture creates a connection between the narratives, unifying the composition, does it not? What new awareness do you gather now? Editor: Now, it seems to me the two-point perspective joins both groups of people, tying them together even across time and space within the single drawing. Curator: Exactly! The organization, tones, and structural perspective contribute so much to experiencing this drawing.