ART WIKI 33,040 on view

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ART WIKI

Where the masterpiece hangs, and when they let you in.

Collections: Art Institute of Chicago, Getty Villa, Harvard Art Museums, Hirshhorn Museum and Sculpture Garden, J. Paul Getty Museum, Minneapolis Institute of Art, Musée du Louvre, National Gallery of Art, National Museum of Asian Art, National Portrait Gallery (Smithsonian), Pushkin State Museum of Fine Arts, Rijksmuseum, Smithsonian American Art Museum, SMK — National Gallery of Denmark, State Hermitage Museum, State Russian Museum, The Cleveland Museum of Art, The Metropolitan Museum of Art, The Museum of Modern Art, Tretyakov Gallery, Victoria and Albert Museum, Whitney Museum of American Art, State Catalogue of the Museum Fund of Russia (274 museums), Europeana (19 museums), Wikidata (6 museums), Paris Musées (12 museums), and Joconde, the French Ministry of Culture's museum database (495 museums). Images belong to their rights holders.

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Collection
Herzog Anton Ulrich Museum
[Neid; L'Envie]

[Neid; L'Envie], Jacques Callot, 1617–1620

Jacques Callot, portrait

Jacques CallotFrench, 1592–1635

[Neid; L'Envie]

1617–1620 · Print

May one see it?

Unknown

Herzog Anton Ulrich Museum

Braunschweig, Germany

The owner is known; whether it is on view today is not.

In this state since: Sep 27, 2026
Source: The museum

On the map Museum page

Particulars

1617–1620

15921635

Meanwhile, in the life of Jacques Callot

1611–1621 · 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

More by Jacques Callot

From the collection of Herzog Anton Ulrich Museum

On the same theme · Dämon

All works on the theme

What it shows

Dämon Woman Dog Schlange Neid Personifikation

In the catalog

Prints Baroque 17th century

Sources

Herzog Anton Ulrich Museum
Image: Herzog Anton Ulrich Museum — CC BY-NC-SA 4.0

Lust, Jacques Callot, 17th century

Lust

17th century · Harvard Art Museums

Temptation of Saint Anthony, Jacques Callot, 17th century

Temptation of Saint Anthony

17th century · Harvard Art Museums

Envy, Jacques Callot, 17th century

Envy

17th century · Harvard Art Museums

Pardon des Rochelois, Jacques Callot, 17th century

Pardon des Rochelois

17th century · Harvard Art Museums

Pride, Jacques Callot, 17th century

Pride

17th century · Harvard Art Museums

Anger, Jacques Callot, 17th century

Anger

17th century · Harvard Art Museums

Descente dans l'île de Ré, Jacques Callot, 17th century

Descente dans l'île de Ré

17th century · Harvard Art Museums

Gluttony, Jacques Callot, 17th century

Gluttony

17th century · Harvard Art Museums

Portrait d'Adolphe de Vignacourt Grand Maître de Malthe, Caravaggio, 1704–1755

Caravaggio

Portrait d'Adolphe de Vignacourt Grand Maître de Malthe, 1704–1755

Ecce Homo, Caravaggio, 1674–1684

Caravaggio

Ecce Homo, 1674–1684

Heiliger Hieronymus, Caravaggio

Caravaggio

Heiliger Hieronymus

Bildnis eines Mannes, Rembrandt, 1839–1850

Rembrandt van Rijn

Bildnis eines Mannes, 1839–1850

Bildnis einer Frau, Rembrandt, 1839–1850

Rembrandt van Rijn

Bildnis einer Frau, 1839–1850

Tobias und seine Frau, Rembrandt, 1773

Rembrandt van Rijn

Tobias und seine Frau, 1773

Tobias und seine Frau, Rembrandt, 1773

Rembrandt van Rijn

Tobias und seine Frau, 1773

Lot mit seinen Töchtern, Rembrandt, 1771

Rembrandt van Rijn

Lot mit seinen Töchtern, 1771

Das Jüngste Gericht, Jacopo Tintoretto, 1627–1642

Jacopo Tintoretto

Das Jüngste Gericht, 1627–1642

Herzog Anton Ulrich Museum

[Christus in der Vorhölle], Andrea Mantegna, 1470–1480

Andrea Mantegna

[Christus in der Vorhölle], 1470–1480

Herzog Anton Ulrich Museum

Entreèe de Monsieur de Couuonge et de Monsieur de Chalabre. [Der Einzug der Herren de Couvonge und de Chalabre.], Jacques Callot, 1627

Jacques Callot

Entreèe de Monsieur de Couuonge et de Monsieur de Chalabre. [Der Einzug der Herren de Couvonge und de Chalabre.], 1627

Herzog Anton Ulrich Museum

[Der Tod des Judas; La Mort de Judas], Jacques Callot, 1610–1661

Jacques Callot

[Der Tod des Judas; La Mort de Judas], 1610–1661

Herzog Anton Ulrich Museum

[The Triumph of Christ; Triomf van Christus; Triumph Jesu Christus], Maarten van Heemskerck, 1559

Maarten van Heemskerck

[The Triumph of Christ; Triomf van Christus; Triumph Jesu Christus], 1559

Herzog Anton Ulrich Museum

[Die Versuchung Christi; The Temptation of Christ; Matth. 4, 1-11; Mark. 1, 12-13; Luk. 4, 1-13], Lucas van Leyden, 1518

Lucas van Leyden

[Die Versuchung Christi; The Temptation of Christ; Matth. 4, 1-11; Mark. 1, 12-13; Luk. 4, 1-13], 1518

Herzog Anton Ulrich Museum

S. MARTA, Marcantonio Raimondi, 1500–1534

Marcantonio Raimondi

S. MARTA, 1500–1534

Herzog Anton Ulrich Museum

Das jüngste Gericht, Pieter Aertsen

Pieter Aertsen

Das jüngste Gericht

Herzog Anton Ulrich Museum