1642 bologna (5 resultados)

Payne Dresden & Leipzig 1855 [Blatt an den Rändern teils stockfleckig.].

Hardcover. Condición: Fine. A fine impression, with a slim margin outside of the border of the key block. There is a closed tear on the right side of the print, no loss. With the stamp of the Städtische Kunsthalle, Mannheim on the verso (compare Lugt 1781e). This is one of twenty-four woodcuts produced by Bartolomeo Coriolano in collaboration with Guido Reni. A drawing at Windsor has been identified as a preparatory drawing for the key block of this print. See McBurney and Turner, "Drawings by Guido Reni for Woodcuts by Bartolomeo Coriolano", Print Quarterly, Vol. 5, No. 3 (September 1988), pp. 227-242. "Although Bartolomeo Coriolano (c. 1599-c. 1676) was one of few practitioners of the chiaroscuro woodcut technique in the seventeenth century, his oeuvre can be counted among the most sophisticated and complex in the history of the medium. Scant biographical details are known, save what can be gleaned from his prints. It has been assumed that he learned his craft from his father, the Nuremberg-born blockcutter Cristoforo Coriolano, later active in Bologna, and that he received his artistic training in Guido Reni's studio, for it was Bartolomeo's chiaroscuro woodcuts after Reni that earned him acclaim. The earliest record of their association is a 1621 document that establishes Coriolano in Bologna, employed as an intermediary for Reni while he was in Rome. By 1627 Coriolano appears to have joined Reni in Rome, where their first dated print, the Alliance of Peace and Abundance, was published. Their collaboration continued later in their native city, and was at its height between 1637 and Reni's death in 1642 "One of the most exquisite results of the Reni-Coriolano collaboration is the St. Jerome, which demonstrates a more sophisticated coalescence of the blocks than previously attempted. The bearded saint leans forward towards the crucifix propped up on a rocky ledge, as he strikes a stone against his bare chest. The insistent folds of his aging flesh are remarkably rendered in three blocks. Executed in two versions, Version A is signed and dated 'Guid. Rhen. Inuen./ Barthol Coriolanus Eques Sculpsit Bonon 1637.' The blocks were then reissued in 1642, perhaps after Reni's death, with the new date carved in the mid-tone block. Once again, the first date was presumably kept as a record of the year of the composition. In this variant, Coriolano's arms appeared twice: once, cut in the mid-tone block at the upper right, and then at lower left in the shield, where it was applied using a stamp. In subsequent printings, the stamp is abandoned."(Takahatake, "Coriolano", Print Quarterly , Vol. 27, No. 2 (June 2010), pp. 112-113) In signing the block, Coriolano styles himself "Eques"(knight), a reference to his status as a Cavaliere Lauretano, an honor bestowed upon Coriolano around 1630 by Pope Urban VIII, to whom the artist had dedicated a chiaroscuro woodcut of the Madonna. The dedication is recorded by Coriolano's biographer, Carlo Cesare Malvasia, in his "Felsina Pittrice"(1678). Takahatake's Version A, state ii (of ii), variant b (of c), with Coriolano's arms at the upper right, the date 1642 in the mid-tone block filled with ink, and without Coriolano's arms printed from a stamp in the shield.

0. Sprache: Deutschu.

"Beilage zu Auers (Zeitschrift) Faust" Friedlein Leipzig 1859 [Das feine Blatt an den Rändern etwas braunfleckig.].

Incisione originale eseguita all`acquafortesu lastradi rame raffigurante un soggetto religioso. Bellissimaprova, stato unico, piccolissimi margini. Carta vergellata senzafiligrana. L`opera raffigura la Madonna conil piccolo Gesu` in braccioe San Giovannino.Ottimo stato di conservazione.