David With the Head of Goliath (recto); Study of Lower Leg and Right Foot (verso) 1682 - 1754

Curator: This intriguing drawing is titled "David With the Head of Goliath," dating from 1682 to 1754 and attributed to Giovanni Battista Piazzetta. The medium is charcoal and pencil. Editor: It's surprisingly somber, isn't it? Not what one usually expects from a victory scene. The figure of David is hunched, almost weighed down by the head he's holding. There's something quite affecting about it. Curator: The weight is literal and symbolic, I think. Notice how Piazzetta utilizes the charcoal and pencil to create depth. The rendering of the fabrics gives such tactile presence. These weren’t merely sketches; these were carefully considered studies of materials, light, and shadow within the larger workshop practice. We know his Venetian workshop employed many. This piece feels born from repetitive practice to get to a more tangible material output like an oil canvas. Editor: And the head itself is almost like a trophy, isn't it? Goliath represents the defeated enemy, chaos overcome. Yet, looking closer, there’s a certain dignity even in defeat. Piazzetta gives him a serene, almost noble expression. It reminds us that these narratives serve symbolic functions as the underdogs of their time try to reclaim symbolic power of older societies or even vanquished gods. Curator: That’s interesting because this kind of re-evaluation of "heroes" is mirrored in the art world. Academies still rely so heavily on linear art history narratives. By elevating crafts like drawings to fine art, we acknowledge the labour and process that create so called finished artworks. It feels quite radical to look at the baroque through a production-based lens! Editor: Ultimately, Piazzetta’s David and Goliath isn't simply about a battle won; it is about the heavy responsibility of heroism. Thank you for unveiling not just the how, but the why, behind the drawing’s construction. Curator: Thank you, for offering a peek into a myth so entrenched in us.