The Ascension of Saint Benedict; verso: Ornamental sketches 1669 - 1711

Editor: This drawing, "The Ascension of Saint Benedict," was made by Hans Georg Asam sometime between 1669 and 1711. It's rendered in ink, and what strikes me immediately is how dreamlike and ethereal the scene feels, like a fleeting vision captured on paper. How would you interpret this work? Curator: You know, I find it so interesting that you describe it as dreamlike because that is precisely the quality Asam seems to conjure. Think about it - he uses ink not just to define forms, but to suggest a whole world of spiritual possibility. Notice how the architecture at the base almost fades away. Do you think this intentional obscuring of the physical emphasizes something else? Editor: It definitely seems to focus attention on Saint Benedict and the angels; that almost heavenly swirl of figures. So is this part of the whole Baroque style, this sense of drama and the divine? Curator: Precisely! Baroque art often sought to overwhelm the senses, to evoke a sense of awe. Asam uses the ascension of Saint Benedict – a story of spiritual transcendence – as a vehicle to take us there. But beyond the grand, emotional sweep, also look closely. You notice the individual faces of the angels? Are they standardized, generic representations, or something more…? Editor: I see it! They’re not identical. Each one has this very specific, human expression. It adds a layer of intimacy to this grand, divine moment. I hadn’t really noticed before how Baroque could have both incredible scale *and* fine details. Curator: And it's in that duality, that push and pull between the human and the divine, that I think Asam's genius really shines. We think we know ‘Baroque’ as one thing. And then the artist steps in, bends that expectation ever so slightly… Editor: That's given me a new way to appreciate Baroque, I never thought about its intimate side before! Thanks for sharing your perspective.