The Madonna and two women (the three Marys) appearing in a vision to St William of Aquitaine 1646 - 1707

Curator: This drawing by Giacinto Calandrucci, dating from between 1646 and 1707, is titled "The Madonna and two women (the three Marys) appearing in a vision to St William of Aquitaine." It is currently held in the collection of the SMK, the Statens Museum for Kunst. Editor: Immediately, the swirling lines, the weightlessness of the figures above, suggest transcendence and a connection to the divine. I can almost feel the ethereal quality despite the earthbound presentation of Saint William. Curator: Absolutely. Consider how Calandrucci uses the etching, particularly with the pen work in red chalk, to distinguish the earthly from the divine realms. Below, Saint William, grounded in landscape, contemplates the instruments of death while, above, we find the celestial vision of the Madonna, the other Marys, and a multitude of angels. It creates a clear visual hierarchy and invites contemplation on life, death, and redemption. Editor: I notice the prominent use of contrapposto. The twisting poses and dramatic gestures, especially in the upper register with Madonna and the Marys, heighten the overall dynamism. And there's an interesting balance between the detailed articulation of forms—the drapery, for instance—and areas left more sketch-like and suggestive. The skull beside the cross versus the well-defined armory of the kneeling saint presents interesting visual distinctions, as well. Curator: Right, this tension speaks to a key concern in baroque art: the intersection of earthly reality and spiritual revelation. The skull, the cross, the knight's armor all symbolize human existence. William’s journey—his contemplation of earthly concerns being replaced by divine vision. He turns his attention from temporal to eternal, embracing the opportunity to move from despair to an awareness of the heavenly figures presenting the way. Editor: In the landscape itself we have a transition. A shadowed serpent appears in the depths contrasted by the ascending angel on the opposite side leading to open, serene sky with billowy clouds and throngs of otherwordly beings. Curator: This all highlights baroque art’s skill in portraying deep and moving spiritual awakenings through strong visual tools. Editor: This glimpse into the past encourages me to pause and seek meaning for the present, considering this piece has layers that invite continued engagement with both its form and subject matter. Curator: Agreed, it makes you wonder what continuities can still be drawn from these figures.