Sts Anthony the Hermit, Cornelius and Mary Magdalen with a Donor 1445

Editor: Here we have "Sts Anthony the Hermit, Cornelius and Mary Magdalen with a Donor," a tempera painting by Stefan Lochner, from about 1445. The colors seem really vibrant, almost jewel-toned, but the composition feels a bit…flat? What do you see in this piece from a formal perspective? Curator: Indeed. Note the arrangement of figures across a single plane. Observe how Lochner uses line to delineate form, favoring clear contours over chiaroscuro. What is the effect of this emphasis on line, coupled with the high-key palette? Editor: It makes everything feel very crisp and defined, almost like stained glass. But how does that relate to the meaning? Curator: The International Gothic style, to which this belongs, prioritizes surface ornamentation and linear rhythm over realistic spatial recession. This elevates the symbolic content. Consider, for instance, the halos—circular markers that negate depth, directing the viewer's gaze not towards an illusionistic reality but to the sacred nature of the figures themselves. Notice how their garments are arranged. What does that tell you? Editor: They fall in very decorative folds... almost like paper cutouts? That kind of removes the sense of weight. So it's about showing reverence and devotion more than, like, showing how gravity works. It flattens the earthly aspects of the figures, showing more divinity and...stylization? Curator: Precisely. The composition rejects naturalism in favor of conveying symbolic meaning through visual patterning and the arrangement of forms, redirecting the artwork into its function within faith. The textures of the paint support these meanings too, I feel. What have you gained from this look, from this point of view? Editor: I appreciate seeing how all the seemingly superficial aspects of the style serve a much deeper purpose. That focusing on the form helps decode the artwork. Curator: Agreed, that method of inquiry enriches the appreciation of its overall visual narrative.