De heilige Johannes de Doper 1712 - 1786

Editor: This engraving, "The Holy John the Baptist," made sometime between 1712 and 1786 by Giovanni Marco Pitteri, presents John gazing upwards. It feels so textural to me; you can almost feel the fur he’s wearing. What do you notice about the formal qualities of this piece? Curator: Note how Pitteri skillfully modulates light and shadow through fine, linear hatching. The density and direction of these lines articulate the figure’s form, drawing attention to the torsion of the neck and the upward gaze. Do you see how the artist balances the tonal values to create depth? Editor: Yes, I see the hatching and the shadows it creates, especially around his beard and hair, but it still seems very flat, somehow? Curator: The flatness you perceive may arise from the limited tonal range typical of engravings. The artist relies on line and form to compensate. Observe the contrast between the roughly rendered hair and the smoother skin. It accentuates the character's rawness. How do you read the interplay of these textures? Editor: I think the textures draw your attention upwards towards his face, making his expression and the direction he is looking the focal point. So, without color, it’s all about contrast in texture and shading. It’s interesting how effective that is. Curator: Precisely. Consider also the framing of the figure. Pitteri tightly contains the figure within the rectangle, directing the viewer’s eye back to the central form, emphasizing its monumentality. Editor: That’s so fascinating. I didn’t notice at first how much that constraint contributes to the work's impact. It gives an imposing character to this otherwise simple portrait. Curator: Indeed. Through such considered manipulation of form, texture and tone, the artist conveys both the physicality and the spiritual intensity of the saint.