Saint Benedict exorcising a demon 1632 - 1642

Editor: So, here we have Simone Cantarini's "Saint Benedict Exorcising a Demon," created sometime between 1632 and 1642. It's an engraving, intaglio print – all those lines give it such a dynamic, almost frenetic energy. What do you make of the way the physical creation of this piece contributes to its overall impact? Curator: I think it's crucial to consider the labor involved. Intaglio prints like this demand highly skilled artisans, often working within a workshop system. The circulation of such prints also democratized images, making them available to a wider audience than original paintings, right? But the subject matter also engages with material concerns: the body as a site of struggle, the palpable force of spiritual conflict. Do you see how the very act of creating and consuming this image implicates viewers in its power dynamics? Editor: That's fascinating! I hadn't really considered the print's distribution as part of its message, but I see how wider access could change its cultural role. Is there something significant about how the figures are rendered so physically, like the demon's contorted body? Curator: Exactly! Baroque art often emphasizes dramatic physicality, aligning with the church's counter-reformation strategies to create visually impactful and emotionally engaging works. This print isn't just about faith, it's about the body as a battleground. But what does the very materiality of ink and paper, in the context of religious imagery, suggest about the power of representation itself? Editor: Hmm, I suppose it takes something intangible, belief, and makes it materially present. It makes it something you can hold and trade, almost… Thanks, that perspective is really enlightening, reframing this print not just as religious art but as a material object with its own agency. Curator: Indeed, and examining these historical artworks through such a lens reveals so much about labor, materiality and society!