Saint Jerome and Mary Magdalene 1600 - 1650

Editor: So, this drawing at The Met is titled "Saint Jerome and Mary Magdalene," made between 1600 and 1650 by an artist known as Monogrammist VBL. It's an ink drawing, kind of monochromatic. The figures are really striking... intense, even. What catches your eye in this piece? Curator: Well, first off, that's some seriously confident linework, isn't it? It feels immediate, like the artist dashed it off in a frenzy – maybe fueled by copious amounts of less-than-divine wine! You get the sense of chiaroscuro, even in just ink. And those faces! Jerome’s emaciated intensity against Mary Magdalene's...dare I say, slightly bedraggled glamour? Notice how the artist is pushing the boundary between reality and idealisation? Editor: Bedraggled glamour is the perfect phrase! The contrast between them is interesting. Jerome's got the crucifix, symbolising sacrifice and faith, while Mary Magdalene holds what looks like a small vessel. Does that contrast tell us something? Curator: Absolutely. The vessel Mary Magdalene is holding alludes to the unguent she used to wash Christ’s feet – an act of repentance and devotion. So you have intellect and penance with Jerome and, with Mary, this raw, emotional connection. Both, in their own way, striving for grace. What do you make of Jerome's almost…theatrical pose? Is he lecturing or… what do you make of his theatricality? Editor: Maybe he's just dramatic? I didn't realise there was so much going on between these two figures. Curator: See? Art whispers secrets to those willing to listen. It is more than the sum of ink and paper; this drawing, in particular, invites you to interpret humanity. What more can art ask of us? Editor: True! Next time I see a seemingly simple drawing, I will dig deeper, so thank you!