The Assumption and Coronation of the Virgin 1690

Art Historian: Editor: Standing before Francesco Solimena’s “The Assumption and Coronation of the Virgin,” painted around 1690, I'm immediately struck by the contrast. The earthly realm feels so heavy and grounded compared to the airy lightness of the heavens above. How do you read the dynamics between these two distinct spaces in the painting? Art Historian: Oh, that push and pull, isn’t it glorious? For me, it's like witnessing the ultimate 'glow up'! Consider the era. Baroque art aimed to stir emotions, to connect the viewer to the divine in a visceral way. Solimena does this by creating a visual crescendo, drawing your eye upwards through this dynamic composition, the use of color, light...Do you feel like you’re being pulled upward too? Editor: I think so! The swirl of figures definitely creates that upward momentum. But the figures on Earth look so surprised, almost alarmed! Are they meant to represent something specific? Art Historian: Well, traditionally they are interpreted to be the Apostles, witnessing the miraculous event. Their reactions remind me of my own attempts to grapple with something bigger than myself, that humbling, awestruck feeling, and aren't the baroque era's ornate details and emotional intensity so wonderfully theatrical? Do you think that that element distracts or adds to its story-telling abilities? Editor: I can see the theatrical element enhancing the story. I mean, it's pretty hard to miss the story that's going on! But I hadn't thought about the emotional component, just the religious one. Art Historian: Exactly. And in connecting with those human emotions portrayed so vividly, we see that this grand religious scene mirrors our own little human experiences. So, next time you feel swept up in a moment of awe, remember Solimena’s painting. What started off looking like an untouchable, religious vision has become a bit more relatable to your personal life, right? Editor: Yes! That actually changes how I see these grand Baroque paintings. Thanks for pointing that out.