The Virgin of Sorrows; central part of a print with nine surounding compartments, now separated 1520 - 1582

Editor: This engraving, "The Virgin of Sorrows" by Giorgio Ghisi, created sometime between 1520 and 1582, has a really powerful sense of melancholy. The Virgin's pose, the dark shading... it all contributes to a feeling of profound sadness. What compositional elements strike you most when you look at it? Curator: Primarily, it's the distribution of light and shadow achieved through meticulous engraving that commands attention. Observe how Ghisi modulates the density and direction of the lines to sculpt form and evoke texture, notably in the drapery enveloping the Virgin. Do you see how the density changes as the eye travels across the image? Editor: Yes, it’s incredible! The way the light falls creates such depth. Curator: Precisely. This sophisticated manipulation is not merely representational; it serves to structure the emotional narrative. Notice, too, the artist's attention to detail – the meticulous rendering of the landscape elements contrasts with the softened portrayal of the figure, thereby heightening the central figure's emotional isolation. How does this interplay contribute to the overall reading of the artwork? Editor: I think it amplifies her sorrow. She's alone with her grief against this incredibly detailed world. The technical skill almost highlights her emotional state. Curator: An astute observation. This is where the power of formalism resides: in unveiling how the visual architecture of a work – line, texture, composition – can, in itself, convey complex emotional and conceptual layers. Editor: It’s fascinating to consider the level of skill behind such emotion. It changes my perception of the work entirely. Curator: Indeed. Approaching art through a formalist lens can illuminate often overlooked, yet critical dimensions.