St. Benedict Gesturing to the Left: Study for the Coronation of the Virgin 1520 - 1523

Curator: Oh, I’m immediately drawn to the sketch-like quality. It's almost like catching a fleeting thought, a moment captured mid-gesture. Editor: And what a gesture! We are looking at "St. Benedict Gesturing to the Left: Study for the Coronation of the Virgin" by Antonio da Correggio, dating from 1520 to 1523. It’s currently held at the Art Institute of Chicago. It’s rendered in chalk, charcoal, and ink on paper. This image serves as an important piece in the grand puzzle of Renaissance art. Curator: "Puzzle" is the word! It feels unfinished, yet complete. There's an urgency in the lines, as if the artist is wrestling with the form, with the idea. Is he about to give a blessing, or perhaps banish something? That outthrust hand and his serious gaze tell a story. I want to know more. Editor: Indeed! It seems Benedict, the father of Western monasticism, might be telling us something, even warning us about possible heretical acts, perhaps as a reminder of what it means to be a true believer during times of religious change. Curator: Religious change – exactly! It's never just about aesthetics, is it? This artwork reminds me that great works always reflect their historical circumstances, they're mirrors reflecting not just form, but our times, society and our beliefs, and of course our collective fears. But isn’t it incredible to see such emotional depth conveyed with just a few lines of charcoal and chalk? The artist really brought him to life! Editor: Absolutely. The medium itself speaks volumes. The softness of the chalk versus the boldness of the ink creates this beautiful interplay of light and shadow. Notice how this pushes and pulls us between Benedict's internal state and the world outside. Correggio used these materials not just for planning the final fresco but to explore St. Benedict’s complicated legacy, an icon of the monastic tradition, during an era of tremendous upheaval, reform, and challenge to religious traditions and authorities. It prompts us to consider Benedict as a person negotiating a world in transition, one perhaps quite anxious of how his beliefs will play out through time. Curator: Yes, seeing it now, I'm captivated not just by what he gestures towards, but the complexity that rests within him, the kind that lingers. A mere glimpse can provoke deeper contemplation about our times, past and present. Thank you for sharing this nuanced perspective! Editor: And thank you for reminding us of art's capacity to hold both aesthetic pleasure and profound social meaning. It enriches the experience!