| Note: Monogrammed and dated at lower right, the proposed drawing-along with a group of similar sheets-served as the model for a woodcut print included in the artist's illustrated bible of 1852-60, Die Bibel in Bildern (The Bible in Pictures). A labor of love that preoccupied Schnorr for forty years, Die Bibel in Bildern or illustrated bible realized one of the Nazarenes central motivations, the awakening of religiosity in the art of their time. As one of the early designs for this project, which comprised over two hundred preparatory drawings, the proposed sheet represents one of the artist's initial creative explorations, the fruits of which can be seen in the inventive composition of the proposed drawing. Dramatically positioned across the center of the sheet, the Hebrew prophet Elijah is shown imploring God to heal the widow's child over whom he hovers. The biblical passage to which Schnorr refers can be found in Kings 17: 21-22. The prophet does not yet know that his petitions have been answered; directly below his outstretched right hand the child extends both arms in a posture suggestive of his revival. Schnorr exploits the drama of Elijah's and the mother's desperation by dividing the space of the composition into two distinct spaces. At the far right, the child's mother wrings her hands and casts her gaze downward in despair mitigated only slightly by abiding hope. Like the prophet himself, she will soon learn of the miracle that has been performed. Schnorr likely recognized his clever disposition of space in this composition; he drew attention to the wall that separates mother from child by signing and dating the drawing at its lower register. Schnorr's sensitivity to the planned translation of his drawing into woodcut form is also apparent in the varied use of pattern that he employs. Under the feet of the prophet, the herringbone tile design contrasts with the tightly cross-hatched passage defining the space in which the widow sits and waits. This variation in pattern allows the artist to maximize the high tonal contrast produced through woodcut medium. As in other preparatory drawings for the illustrated bible project, the proposed sheet shows Schnorr's use of reinforced contours in the figures and otherwise clear rendering of the architectural elements. Schnorr's use of varied line patterns and contrasting emotional states extracts and distills the intense drama from the biblical narrative he represents. | |
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