Saint Paul Preaching in Athens c. late 16th century

Curator: Here we have "Saint Paul Preaching in Athens," attributed to Giovanni Battista Ricci da Novara, likely created in the late 16th century. It's currently held in the collection of the Minneapolis Institute of Art. Editor: The dynamism leaps out, even with the monochromatic palette. I immediately get a sense of urgent communication, bodies pressed together, straining to hear. What are your first impressions? Curator: It’s true, there's an incredible energy conveyed through line work alone. Beyond that, consider the choice of Saint Paul. He is, himself, a bridge – between cultures, between belief systems. The architecture reminds us of classical antiquity, but the subject introduces something new. Editor: Exactly. And how were these drawings conceived? The means of production must have influenced the reception. Drawings could have circulated easily and been adapted by workshops churning out copies. We also ought to consider how paper affected artistic mobility as well, no? Curator: Absolutely. Drawing functioned as a tool for dissemination. But I'm struck by the almost archetypal figures that Da Novara crafted here. The postures of the listeners are familiar, as they echo expressions found in art throughout centuries, indicating attentive skepticism. What sort of continuities can you trace? Editor: You point to a very interesting thing, what did he select when he translated this religious event. Da Novara and his circle had some specific cultural choices during its crafting of "Saint Paul Preaching in Athens," especially the choice of the historical paper support. Curator: It's the contrast, isn't it? An old narrative rendered in an innovative way. That's what speaks to me – a kind of eternal story, but given fresh breath. Editor: Freshly accessible via paper and reproducible by workshop assistants in potentially large editions that might travel easily as unbound leaves. It’s amazing how these materials unlock a deeper social and economic history as well as the formal iconography. Curator: It certainly is. Seeing both the physical history and the symbolic content makes for such a richer viewing. Editor: Agreed.