Metropolitan Museum: part 2 – Anthony van Dyck - Saint Rosalie Interceding for the Plague-stricken of Palermo
Anthony van Dyck: Flemish, Antwerp 1599–1641 London 1624; Oil on canvas; 39 1/4 x 29 in. (99.7 x 73.7 cm)
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The setting is layered with symbolic elements. She appears to be situated upon a rocky outcrop, partially obscured by mist and shadow at the base of the composition. This placement suggests a separation from earthly concerns, elevating her to a position of divine mediation. Surrounding her are numerous cherubic figures, some clustered around her, others floating in the turbulent sky above. These putti appear to be actively engaged with her intercession; some hold flowers, while others seem to participate in the outpouring of light and grace. Their presence reinforces the notion of heavenly assistance and divine favor.
The color palette is dominated by warm earth tones – browns, ochres, and russets – contrasted against a dynamic sky filled with blues and grays. The use of chiaroscuro – the dramatic interplay of light and shadow – heightens the emotional intensity of the scene. Light illuminates the woman’s face and hands, drawing attention to her gesture of prayer, while the surrounding areas remain shrouded in darkness, creating a sense of mystery and spiritual depth.
Subtly embedded within the visual narrative is an implication of protection and deliverance. The rocky terrain could be interpreted as representing hardship or suffering, while the figures elevated position suggests hope and salvation. The presence of the cherubs, often associated with innocence and divine messengers, further reinforces this theme of benevolent intervention. The overall effect conveys a sense of urgent petition and the promise of divine response in times of crisis.