Allegory of Heaven and Hell 1642 - 1693

Editor: So this is "Allegory of Heaven and Hell," a drawing from sometime between 1642 and 1693 by Claudio Coello. It's made with pen, ink, and pencil. The composition really strikes me—it's this contained oval, packed with these stark contrasts. What do you see in this piece, looking at it formally? Curator: Formally, the piece operates on several axes of opposition. Consider first the ovoid composition itself; this presents a defined space within which a visual dialectic unfolds. Notice how the upper registers are populated by symbols of divinity and salvation – a cross, cherubic figures – rendered in a lighter, more ethereal manner. The treatment of light here suggests transcendence. Editor: So, the light versus dark really creates a visual separation. Curator: Precisely. Descend, and observe how the lower portion of the work becomes progressively darker, denser, populated with representations of earthly corruption and, ultimately, infernal figures. The multi-headed dragon, drawn with stark lines and shading, is the antithesis of the soft cherubs above. Ask yourself, what does this juxtaposition accomplish? Editor: It emphasizes the stark choice, almost. Heaven and Hell presented as opposing forces contained within this symbolic framework. It seems the composition really forces the viewer to see the dichotomy. Curator: Indeed. Coello's strategic use of line, light, and shadow not only creates visual interest, but constructs a powerful statement. Editor: It’s amazing how much you can pull out of just the composition. I’ll never look at light and dark in the same way. Curator: And I am struck again by the formal device of contrasting heaven and hell as being two sides of the same coin, contained in the oval.