The Miracle of the Santa Casa of Loreto (recto) by Pietro Antonio de' Pietri

The Miracle of the Santa Casa of Loreto (recto) c. 1700

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drawing, charcoal

drawing

baroque

charcoal drawing

figuration

line

charcoal

history-painting

Dimensions 16 9/16 × 10 11/16 in. (42.07 × 27.15 cm) (sheet)26 7/16 × 20 3/8 × 2 in. (67.15 × 51.75 × 5.08 cm) (outer frame)

Pietro Antonio de' Pietri created this drawing, The Miracle of the Santa Casa of Loreto, using pen and brown ink with brown wash. The composition is dominated by dynamic upward movement. Note how the architectural structure at the base, rendered with precise lines, contrasts with the swirling figures above. De' Pietri uses these energetic and fluid lines to depict the Virgin Mary and attendant angels rising heavenward. The brown wash creates depth and shadow, enhancing the dramatic effect of the scene. The contrast between the solid architecture and the ethereal figures suggests a dialogue between the earthly and the divine. Consider how the formal elements, like the lines and tonal values, create a sense of movement and transcendence. This visual language invites us to contemplate themes of faith, miracle, and the intersection of the physical and spiritual realms.

Comments

minneapolisinstituteofart over 1 year ago

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The successful Roman painter Pietro Antonio de’ Pietri was a celebrated draftsman. In this drawing, de’ Pietri represents the miracle of the Holy House of Loreto. According to legend, the ancient house of the Virgin Mary and Joseph was brought by angels from Nazareth to the Italian town of Loreto in 1291 when it was under threat of destruction by the Saracens who were driving the Crusaders out of the Holy Land. The Santa Casa shrine is an important Catholic pilgrimage site. De’ Pietri’s bravura is on full display in this double-sided sheet, which employs two very distinct manners. On the recto, his handling of the pen and brush is expressive and use of wash is bold, employed to represent the energy of the fluttering choir of angels and miraculous flickering light around the Virgin and Child. On the verso, in contrast, de’ Pietri represents the figures with exacting pen and ink lines and crosshatching to create the illusion of three-dimensions on the flat sheet of paper.