Jacques CallotFrench, 1592–1635Les Caprices - Titre ou frontispice
May one see it?
Unknown
Langres, France
The owner is known; whether it is on view today is not.
- In this state since
- Source
- The museum
About the work
In the museum's own words — in French
cartouche maintenu sur les côtés par deux monstres ; partie haute avec médaillon décoré de cuirs enroulés couronnés ; partie basse du cartouche fermé par une tête de monstre ; sept lignes de texte en latin au centre
Musée d'art et d'histoire de Langres
Particulars
- Accession number
- 2021.0.24.1
In the catalog
Sources
- Musée d'art et d'histoire de Langres
- Image: Musée d'art et d'histoire de Langres — © LENOIR Caroline; Ministère de la Culture (France), base Joconde
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.
