Raising of Lazarus n.d.

Curator: Here we have an interesting work attributed to Marco Benefial, entitled “Raising of Lazarus." It's undated but presents us with a familiar biblical scene. Editor: The first thing that strikes me is its preparatory nature, you can clearly see the gridlines underneath the drawing, which reveals the fascinating work behind the composition, as the artist considers transferring the work onto a larger support such as fresco or canvas. Curator: Absolutely, it gives insight into the creative process. It is as though we can witness the artist carefully mapping out the spacial relations, using the figures’ bodies as conveyors of a more emotional landscape. Lazarus lying down as the embodiment of inert matter, juxtaposed by the gestural frenzy of other figures gesticulating around him, pleading for the miracle to occur. Editor: Exactly. I find myself curious about the types of pencils and chalks used to give that dramatic shading, almost chiaroscuro, given Benefial’s moment and place in history. The materials ground us to an economy of means and resources at the time, forcing us to consider what was most valuable for the artist. Curator: The raising of Lazarus is of course a loaded scene in Christian art. The light as a symbol of divine intervention breaking into earthly shadow. Even further, resurrection here can stand for the passage into another stage of consciousness, or the process of unveiling inner truths, perhaps, which brings us to consider this miracle’s meaning for Benefial. Editor: True. While those higher concepts are interesting, the pragmatics interest me, even in these spiritual narratives. Think of the social investment and patronage required for paper, for pencils and ink, or for skilled hands trained to draw and then later produce large works based on studies such as this one, even if just an aid. Curator: It seems almost an understatement to call this piece just a study, considering its depth and the emotional range that it achieves. Editor: I suppose in a sense, understanding the value of raw materials and artistic labor elevates these “humble” origins. We find that in his approach to the making, Benefial already gave a great deal of symbolic weight to what was at stake.