Sainte Julienne de Mont-Cornillon 1605 - 1650

Editor: Here we have Jean Morin’s engraving of Sainte Julienne de Mont-Cornillon, dating from around 1605 to 1650. It’s incredible how much detail he achieved in this print. What elements of its composition stand out to you? Curator: I’m immediately drawn to the use of light and shadow, achieved through the intricate lines of the engraving. Notice how the artist employs hatching and cross-hatching to model form and create tonal variation. Where does your eye go first within the composition, and why do you think that is? Editor: My eye goes straight to the figure of the saint; her face is really defined in the space. Then, I'm drawn into the shadows and the depth in the back. The curtain is very detailed. I suppose the contrast makes the work feel dynamic. What kind of mood is being created, in your view? Curator: The stark contrasts definitely lend a dramatic flair typical of the Baroque style. But if you look at how the lines converge and diverge, particularly around her clasped hands and the folds of her habit, you begin to appreciate how Morin is manipulating visual rhythm. What effect do you think that has? Editor: The composition certainly directs attention and seems to suggest a mood of reverence and piety through the formal choices you have pinpointed. I am struck by the technical skill. Curator: Indeed, a closer inspection of the lines themselves, the quality of the engraving, and how it creates form, allows us a deeper insight into the artistry at play. It is not just about religious representation, but also the artistry evident within its creation. Editor: It is impressive to consider both the artistic choices and the technical execution. Thanks, I will not look at prints the same way again.