St. Theresa 1609 - 1627

Editor: Here we have "St. Theresa," an engraving by Antonius Wierix III, created sometime between 1609 and 1627. I am struck by how theatrical the composition is; it's almost like a scene from a play. What do you see in this print? Curator: The composition, certainly, arranges itself according to a distinct visual hierarchy. Consider how Wierix uses line and space. The sharp, controlled lines of the engraving delineate the figures with precision, emphasizing their volume and the folds of their garments. The use of hatching and cross-hatching creates areas of deep shadow that contrast sharply with the highlights, enhancing the three-dimensionality. Do you notice how the positioning and gestures of the angels create a sense of dynamic movement that leads our eye from the earthly realm toward the heavenly light above? Editor: Yes, the angels do guide the eye upwards. What does it mean, then, when St. Theresa’s gaze stays at their level and not up towards the light? Curator: That is perceptive. It is crucial to observe where the gazes rest within the pictorial structure. Wierix seems less interested in rendering transcendental spirituality. Instead, he seeks to capture an immediate, embodied experience of faith. Do you see how, formally, the entire work strives towards balance, but this is immediately upset by her downward-cast, emotional face? Editor: I hadn't considered how much the *absence* of balance contributes to its meaning. It does encourage me to think more about the experience depicted. Curator: Exactly. Through attention to form and technique, we access emotional and narrative qualities. Considering not *what* but *how* can be greatly rewarding.