Erminia and the shepherds 1721 - 1803

Curator: Welcome. Here we have Domenico Corvi's "Erminia and the Shepherds," likely from the late 18th century. It’s a pencil and possibly etching drawing, showcasing the artist’s mastery of line and form. Editor: The drawing feels instantly dreamlike and somewhat ethereal. There's a delicate balance in the composition despite the sketch-like quality, a kind of structured chaos, especially with that grid underlying the whole composition. Curator: The grid provides a fascinating insight. This suggests Corvi used this preliminary study as part of a larger preparatory process. The figures themselves embody idealized forms prevalent in academic art of the period. Think about how pervasive similar approaches would become throughout Europe. Editor: I'm drawn to the central female figure – Erminia, presumably – she commands attention not through bold strokes but a subtle positioning within the pastoral scene. The textural variation achieved with the pencil really delineates the lush background from her idealized, smooth appearance. The juxtaposition tells a story. Curator: Precisely. Contextualizing this piece reveals much. The subject matter draws from Tasso’s epic poem "Jerusalem Delivered," a popular source for artists during this period. Erminia, a princess, seeks refuge amongst shepherds. It's worth examining the period in terms of its pervasive, indeed performative, Classicism as aristocratic power increasingly gave way to revolution. Corvi himself engaged with many influential Cardinals. Editor: Note too how the open landscape is divided into geometric blocks, that suggests control of natural scenery; what this scene of apparent refuge offers as an aesthetic ideal is ultimately somewhat claustrophobic. Curator: I agree, one might also note how Corvi utilizes academic art, blending a landscape style within this narrative piece, reflecting genre painting popularity. Editor: A beautiful rendering, one clearly deeply informed by an artistic agenda rooted within very precise structures. Curator: Indeed, considering the drawing, the interplay between its internal construction and its external narrative roots is what makes it so engaging.