Virgin and Child with Saints Jerome and Catherine n.d.

Editor: Here we have Pietro Faccini’s drawing, "Virgin and Child with Saints Jerome and Catherine." It looks like it was done in ink and charcoal on paper. It's unfinished, clearly, but the linework feels so expressive. What can you tell me about it? Curator: This drawing immediately makes me consider the materiality of devotion. The tools—ink and charcoal, humble materials—translate a celestial scene. How does the artist's *choice* of these materials affect its perceived value, and what does that say about the role of labor in Renaissance workshops? Editor: That’s a great question. I hadn’t thought about it that way! Curator: The drawing wasn't the final product, of course; it was a study, a means towards a perhaps more elaborate piece. We see here the economy of art production, where each step—from charcoal sketch to final painting—involved different levels of skill and often, division of labor. Who was this drawing made for? Editor: Well, that’s really interesting. Perhaps this was a piece to gain patronage or to train junior artists? Curator: Precisely. Considering that, does this drawing challenge the distinction between "high art" and the craft of simply reproducing? Faccini shows us that those lines are blurred by workshop labor. The *process* reveals that all art production is materially grounded. Editor: I see. So instead of focusing on Faccini's genius, we are highlighting the cultural, economic, and physical effort that goes into art-making. That really gives me a fresh perspective. Thanks for that. Curator: And for me, you re-centered the aesthetic qualities. I need that! It is a good reminder to remember to look.