St. Michael Expurging Heresy 1596 - 1669

Editor: Pietro da Cortona's drawing, "St. Michael Expurging Heresy," created sometime between 1596 and 1669 using ink and charcoal, really grabs your attention. It’s got this dramatic, almost overwhelming composition. What’s your interpretation of a piece like this? Curator: From a historical perspective, it is fascinating. Cortona was working in a period rife with religious conflict, the Counter-Reformation, specifically. Consider how this drawing, depicting St. Michael triumphing over heresy, would have served as powerful propaganda, visually reinforcing the Catholic Church’s dominance, you see? It's not just about religious devotion; it is also about social control through imagery. How do you perceive the symbolism at play here? Editor: Definitely powerful stuff. The angel defeating this multi-headed beast speaks volumes about power. The figures at the top though--almost serene in contrast with the chaotic battle scene. What could that choice communicate to its original audience? Curator: The composition invites an upward reading, guiding the viewer from chaos to divine order. The blank rectangle may originally contain an inscription with clear social commentary of the day. Note that at the top there are heavenly figures reigning down as St. Michael subdues earthly challenges. Think about it: this hierarchy isn’t merely spiritual; it reflects existing social structures of 17th century Europe where nobility also felt entitled to be on top. Editor: That context really deepens my understanding. So it’s about solidifying social power, using religion as its support. Curator: Precisely. Understanding that art never exists in a vacuum and Cortona was really savvy in portraying societal norms for political gains is vital here. I mean, that the print will have mass distribution would mean an amplified political effect. Editor: This has reshaped my view; it’s more than just art; it's a reflection of social and political forces! Thanks! Curator: Gladly. Now, let us reflect further on how spaces such as this Museum shape reception...