Assumption of the Virgin n.d.

Curator: Domenico Maria Canuti’s drawing, titled "Assumption of the Virgin," showcases a swirling scene rendered in ink, watercolor, and possibly oil pastel on toned paper. Editor: The first thing that strikes me is the incredible lightness of the drawing, the way the artist suggests volume with these airy, almost ghostly strokes. There’s an ethereal quality that I find quite beautiful. Curator: Yes, Canuti employs the Baroque style to convey a sense of heavenly ascension. But more than just the artistry, consider how these images function in the larger theatre of religious iconography and political messaging. How the display and veneration of images reinforces socio-political structures. Editor: It's true; but looking at the materiality here, there’s a focus on the creation of sketches. The underpainting peeks through; the sense that we are seeing the bones of a larger planned project gives a very raw edge to the spiritual experience. I wonder about the division of labor in Canuti’s studio and how much autonomy he had. Curator: Absolutely, thinking of the labour practices helps ground this work, doesn't it? The sketch here probably relates to large-scale fresco commissions. Consider how these 'visions' would later be rendered for popular devotion. Editor: I suppose it raises a really crucial point about what constitutes “high” art and what doesn't. Is a drawing inherently less valuable simply because it is preliminary? Its quick application still serves a greater intention, in art and faith. Curator: Good point. Ultimately this drawing exemplifies the potent interaction between art, power, and belief, a concept visualized for all. Editor: And, despite its preliminary nature, shows just how intentional and skilled art-making truly is. Thank you.