Jacques CallotFrench, 1592–1635Katafalk van keizer Matthias
May one see it?
Unknown
Rijksmuseum
Amsterdam, Netherlands
The owner is known; whether it is on view today is not.
- Source
- The museum
About the work
In the museum's own words — in Dutch
In een kapel van de San Lorenzo te Florence staat de katafalk van keizer Matthias voor een piramide van kaarsen. Er wordt juist een dodenmis gevierd; tussen de pilaren van de kapel zitten de toehoorders, geestelijken en edellieden. Onder de voorstelling een tweeregelig onderschrift in het Italiaans.
Rijksmuseum
Particulars
- Accession number
- RP-P-OB-20.836
What it shows
In the catalog
Sources
- Rijksmuseum
- Image: Rijksmuseum — public domain
Meanwhile, in the life of Jacques Callot
The whole life1611–1621 · Workplace
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.
1621–1635 · Workplace
Nancy
