De evangelist Marcus met leeuw 1712 - 1786

Curator: Here we have Giovanni Marco Pitteri's engraving of Saint Mark, "De evangelist Marcus met leeuw," created sometime between 1712 and 1786. Editor: There's an introverted solemnity to this image that I find quite intriguing; he appears utterly lost in thought. It's almost as if we’ve interrupted something sacred. Curator: The somber tone aligns with Baroque sensibilities, prioritizing dramatic spiritual representation, however, there's an unusual intimacy at play here. Pitteri guides our eye meticulously through contrasting values to unify Mark and his leonine companion into a seamless compositional structure. Editor: Ah, yes, the compositional structure! The lion blends with his shoulder in a very interesting way! Though I'll admit, part of me wishes it weren't quite so subdued; I mean, it’s Saint Mark with his lion, where is the symbolic fanfare? Shouldn't this be overflowing with celestial light? Curator: Perhaps the artist aimed for internal drama rather than overt symbolism. Consider the engraving technique itself, achieving rich tonal gradations which suggests internal struggle. Note how this internal conflict echoes in Mark's pensive expression. Editor: That's fair, and it highlights an inherent paradox. This engraving technique—this methodical, measured practice—captures a saint, usually associated with divine spontaneity, engaged in the act of creation itself, wrestling with thought before penning a line. I find it interesting because it focuses on the physical act. Curator: Precisely. This piece stands as a testament to how the materiality and its form work in synthesis. It emphasizes interiority, drawing us into the quiet intensity of intellectual genesis through deliberate arrangement and texture. Editor: True enough. Ultimately, I’m moved by how such meticulous execution reveals this saint's deep contemplation; the engraver uses the very restrictions of his medium to illuminate something unbound. Curator: Yes, Pitteri certainly uses technique to achieve more than simply a representational engraving of St. Mark. I concur with your analysis.