Studien zu einem Heiligen Hieronymus c. 1602

Curator: Let’s take a moment with this compelling work by Agostino Carracci, a preparatory drawing from around 1602 titled, “Studies for Saint Jerome.” It's housed here at the Städel Museum. Editor: Well, initially, it looks a bit like looking behind the scenes of some grand theatrical production. There are figures, some barely formed, seemingly searching for a role or an expression. A jumble of poses almost. Curator: That chaotic impression, I think, reflects Carracci's process. The piece itself is done in ink, and it’s clearly a testing ground—multiple figures in different poses. It's fascinating to observe him working through possible compositions. What can we tell about Saint Jerome's portrayal through this exploration? Editor: Considering the means, ink drawings like this would be crucial tools in the workshop. Cheaper materials meant more experimentation. The drawing looks like a space for thinking through labor, performance, even the saintly figure. Note all the studies around the main Hieronymus figure...all that scratching gives the work this interesting materiality to me, something raw about the artist trying things. Curator: Exactly! Look at the face in the upper right, how that rough treatment still conveys wisdom. And the central Hieronymus is such a compelling combination of strength and weariness. Editor: I’m drawn, actually, to the figure standing at the lower left on what looks like a podium. Arms out…waiting for a prompt? Curator: I think it speaks to his interest in capturing motion, exploring the weight and balance of the body in action, getting the details and mood just right for his final, finished artwork. Editor: It really puts labor at the forefront, doesn’t it? I also appreciate that Carracci makes the usually hidden part of the process visible. Like here's a behind the scenes tour of all the experiments, trials, and even what appears to be failed attempts that make art-making actually happen! Curator: Seeing this array of options side-by-side really helps us see how deliberate his artistic choices really are. Editor: It does reveal a crucial tension of this work. This push-and-pull relationship shows how important even simple materials are for crafting cultural and historical meaning through material creation. Curator: Exactly, all these ideas churning in ink. Makes you wonder what made the final cut, right? Editor: Absolutely, and I want to go find it!