Church in Cairo, Jacques Callot, 1619
Jacques Callot, portraitJacques CallotFrench, 1592–1635

Church in Cairo

1619 · Print

May one see it?

Not receiving at present

National Gallery of Art

Washington, D.C., United States

It belongs to the collection, but is not on display at present.

Checked
In this state since
Source
The museum

Particulars

Accession number
1986.50.192

What it shows

In the catalog

Sources

Meanwhile, in the life of Jacques Callot

The whole life
  1. 1611–1621 · Workplace

    Florence

  2. 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.

  3. 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.

  4. 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.

  5. 1621–1635 · Workplace

    Nancy

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