Hoogmoed

1611–1621 · Působiště

Florence

1614–1621

At the court of Cosimo II de’ Medici

Under Parigi’s direction Callot works at the court of the Grand Duke of Tuscany Cosimo II de’ Medici in the Uffizi, designing festivals and theatrical performances — later these give him themes for his series of grotesque prints; during his Florentine years he becomes an independent master and often works for the Medici.

1617

Switches to hard ground and repeated biting

From 1617 Callot uses, instead of the soft ground customary until then, the acid-resistant hard ground of Florentine joiners and furniture-makers; it allows the plate to be bitten repeatedly, with parts of the spatial planes successively covered by varnish, and gives broad tonal gradations; he is also credited with the échoppe, an etching needle with a slanted end that produces a swelling line.

1621

Returns to Nancy after the death of Cosimo II

After the death of Grand Duke Cosimo II de’ Medici, Callot responds to Duke Charles IV of Lorraine’s wish to see him at his court and returns to Lorraine, where he is received with flattering honours; staying in Nancy, he sends his prints all over Europe, and Rembrandt becomes a keen collector of them.

1627

In the Netherlands at Infanta Isabella’s invitation

At the invitation of the Infanta Isabella Callot visits the Netherlands; views of Holland, like those of Italy and France, and characteristic portraits of soldiers, circus performers and actors are reflected in his work.

1627

Van Dyck paints his portrait in Brussels

In Brussels Callot meets Anthony van Dyck, who paints his portrait; it is later engraved by Lucas Vorsterman and enters the famous “Iconography”.