Jacques CallotFrance, 1592–1635De kindermoord
Peut-on la contempler ?
Nous l’ignorons : le musée garde le silence
Rijksmuseum Amsterdam
Amsterdam, Pays-Bas
Le propriétaire est connu. Si elle est exposée aujourd’hui, le musée ne le dit pas, et l’on ne nous a pas appris à deviner.
- Source
- Les données de collection du musée lui-même
À propos de l’œuvre
In the museum's own words — the original
Ovale voorstelling van een straat of binnenplaats, omzoomd door statige gebouwen, waar soldaten bezig zijn kleine kinderen te vermoorden, terwijl vrouwen wanhopig proberen hun kroost te beschermen.
Rijksmuseum Amsterdam
Notice
- Numéro d’inventaire
- RP-P-OB-4654
What it shows
Au catalogue
Sources
- Rijksmuseum Amsterdam: the museum's own open data · obtenue il y a 6 jours
- Image : Rijksmuseum Amsterdam — public domain
Pendant ce temps, chez Jacques Callot
La vie entière1611–1621 · Lieu de travail
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.
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 · Lieu de travail
Nancy
1627
In the Netherlands at Infanta Isabella’s invitation
At the invitation of the Infanta Isabella Callot visits the Netherlands; views of Holland, like those of Italy and France, and characteristic portraits of soldiers, circus performers and actors are reflected in his work.
1627
Van Dyck paints his portrait in Brussels
In Brussels Callot meets Anthony van Dyck, who paints his portrait; it is later engraved by Lucas Vorsterman and enters the famous “Iconography”.
