The Virgin Giving the Girdle to Saint Thomas, between Saints Francis and Catherine of Siena c. 1600 - 1605
drawing, paper, ink
drawing
toned paper
narrative-art
figuration
paper
charcoal art
ink
italian-renaissance
Dimensions: sheet: 27.9 × 13.6 cm (11 × 5 3/8 in.) mount: 36.9 × 27 cm (14 1/2 × 10 5/8 in.)
Copyright: National Gallery of Art: CC0 1.0
Curator: This toned paper drawing, using ink and charcoal, is entitled "The Virgin Giving the Girdle to Saint Thomas, between Saints Francis and Catherine of Siena." Andrea Boscoli created it around 1600-1605. Editor: The mood hits me first – an urgent ascension, maybe? All eyes are skyward; feels dramatic, for sure. I'm seeing strong verticals countered by softer, cloud-like forms above. Curator: Visually, that upward thrust relies heavily on diagonals created by the Virgin's drapery and St. Thomas's reaching gesture. The girdle itself, the object of the narrative, forms a connecting bridge across these visual planes. Editor: Right. And that light, man – streaming from above! Like a divine spotlight. What's with the girdle, anyway? A magical belt? Curator: Legend says that when St. Thomas doubted Mary's Assumption, she gifted him her girdle as proof. It's a symbolic object – faith bridging doubt. The very lines and composition work to showcase that doubt and connection. Editor: So, it's like a holy receipt. You know, I'm struck by the contrast between the earthbound figures, all frantic energy, and the serene detachment of the Virgin. There's also something a little wild about this charcoal work that suggests raw inspiration! Curator: You see Boscoli employing the chiaroscuro technique masterfully. Light and shadow aren't just descriptive, but carriers of the painting’s drama. It highlights spiritual experience using the paper's tone. Editor: The way those charcoal lines give everything movement. I notice that the Italian Renaissance was seeing all kinds of new approaches, this movement and play in such serious figures, makes this image so powerful. Curator: It really showcases a convergence between divine narrative and human response. Boscoli wasn’t simply illustrating; he was capturing a moment of profound revelation and doing it very expressively. Editor: Yeah, something to it – all this heavenly traffic leaves a trace in the human heart, a very tangible effect to grasp!
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