Bovenlichaam van een vrouw c. 1663 - 1666

Editor: So, here we have "Bovenlichaam van een vrouw," or "Upper body of a woman," made around 1663-1666 by Giuseppe Maria Mitelli. It’s a pen and ink drawing on paper, found in a sketchbook. There’s something incredibly intimate about seeing these early sketches; I feel like I’m glimpsing into the artist's creative process. What strikes you about this work? Curator: Ah, yes. I always feel like I am seeing through the artist’s eyes. The immediate impression is of fleeting thoughts caught in ink. Think about Mitelli, in his studio, rapidly sketching studies of form, light catching on drapery… a visual note! Look closely—isn’t it remarkable how he suggests volume with just a few strokes? Almost like a secret language being written. Do you get a sense of his thought process from these pages? Editor: Absolutely! I can almost imagine him working quickly to capture the pose and light. The sketchy lines add a real sense of movement, like the figure is caught in a moment. But, I’m curious—is this typical of sketches from that era, or does Mitelli bring a unique style to the sketchbook page? Curator: That’s a sharp question. Well, academic drawings from the Baroque period often emphasize idealized forms and careful observation, sure. However, the energy of this sketch has a life beyond the strictures of formal study. Imagine his hand dancing across the paper; there’s a freedom and expressiveness here. He’s almost riffing on the form! It's that blend of study and impulse which fascinates me. Editor: That makes so much sense. The "riffing" really comes through. I came into this conversation expecting something more academic, but I now see this spontaneity really gives the artwork its special feel. Curator: Precisely. A fleeting dance between eye, mind, and hand… And that’s what makes it memorable, don’t you think?