Saint Catharine, after Tintoretto 1889

Curator: Let’s turn our attention now to Joseph Smith’s “Saint Catharine, after Tintoretto," housed here at the Harvard Art Museums. Editor: Oh, she's dreamy! It's as if the saint is emerging from a watercolor reverie, all soft edges and flowing fabric. Curator: It's interesting to view Smith’s interpretation of this female figure, considering the historical power dynamics often associated with Renaissance portraiture and the male gaze. How do you think he engages with that legacy? Editor: Hmmm. There's a gentleness here that pushes against the usual heroic representation; she seems almost vulnerable. That hand reaching out, is it a blessing, or is she hoping someone will take it? Curator: Perhaps Smith is inviting us to question the very nature of sainthood and how it intersects with feminine ideals. Editor: I hadn't thought of it that way, but now that you mention it, it does feel like a quiet rebellion against those classical portraits. Like a gentle whisper asking us to reconsider the narrative. Curator: Precisely, which is why it remains a relevant piece for contemporary discourse. Editor: Definitely gives you something to chew on. Makes you wonder about the stories we tell and who gets to tell them.