Jacques CallotFrench, 1592–1635Peasant Squatting
May one see it?
Not receiving at present
Harvard Art Museums
Cambridge, United States
It belongs to the collection, but is not on display at present.
- Checked
- In this state since
- Source
- The museum's own collection data
Particulars
- Accession number
- S4.3.7
In the catalog
Sources
- Harvard Art Museums: the museum's own open data · fetched 7 days ago
- Image: Harvard Art Museums — © President and Fellows of Harvard College
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.
