Detail study for the cupola fresco depicting the Assumption of the Virgin in the cathedral of Parma c. 1523 - 1524

Editor: Here we have a red chalk and ink drawing by Correggio, created sometime around 1523 or 1524. It’s a study for his fresco of the Assumption of the Virgin. I'm struck by the energy in it; it feels like a whirlwind of bodies caught in a divine updraft. What do you see in this piece? Curator: You know, it reminds me a little bit of trying to remember a dream. Those fragmented forms, those arms gesturing, they're reaching for something, aren’t they? Correggio's not just showing us figures; he's giving us a glimpse of divine ascension as pure, kinetic emotion. It is so profoundly moving and intuitive, no? Tell me, what do you think he's trying to convey with that upward movement? Editor: I think the upward movement visually represents the Virgin Mary ascending to heaven, and it sort of pulls the viewer's eye up with her! Curator: Precisely. But think about the Renaissance fascination with perspective, with creating illusions of depth and space. Correggio is doing that, sure, but he is also inviting us to imagine the unfathomable: divinity, swirling into being. Almost makes you dizzy, doesn't it? Editor: It does! It’s not static or staged, it's dynamic and evolving before our eyes. What did you learn about this study? Curator: Seeing it through your fresh eyes has reminded me that art isn't just about the final product; it is often about the journey, the restless exploration that is inherent to creation itself. Editor: And I see now how much these preparatory sketches can tell us about the artist's process and intent. I really enjoyed exploring the Assumption!