Priester met monstrans
About the work
In the museum's own words — in Dutch
Een priester, ten voeten uit weergegeven en naar rechts lopend, draagt een monstrans met het Heilig Sacrament van de Eucharistie. Bovenin de voorstelling een stip, het resultaat van een gaatje in de plaat.
Rijksmuseum
Particulars
- Accession number
- RP-P-OB-4855
Meanwhile, in the life of Jacques Callot
The whole life1608
Runs away from home to Rome
Secretly from his parents Jacques sets out on foot for Rome — according to legend, with wandering Romani; by one account he ran away twice and twice came back at his father’s demand, until his father finally consented to his studying in Italy.
1611
Studies etching with Tempesta in Florence
Having studied burin engraving in Rome with Philippe Thomassin, Callot moves to Florence, where he works with Antonio Tempesta, who teaches him the technique of line etching (by other accounts, he lived in Florence from 1612).
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
