Jacques CallotFrancia, 1592–1635Apostel Mattheüs
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Rijksmuseum
Amsterdam, Paesi Bassi
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- Fonte
- Il museo
Sull’opera
Con le parole del museo — in olandese
Mattheüs, ten voeten uit, steunend op een zwaard. Op de achtergrond rechts is te zien hoe Mattheüs door Christus geroepen wordt hem te volgen; op de achtergrond links is te zien hoe hij onthoofd wordt. Deze prent is onderdeel van een reeks van 16 prenten, bestaande uit een titelblad en 15 portretten, voorstellende Christus, Maria en de apostelen.
Rijksmuseum
Scheda
- Numero di inventario
- RP-P-OB-4771
Che cosa raffigura
The apostle and evangelist Matthew (Mattheus)Possible attributes: angel, axe, book, halberd, pen and inkhorn, purse, scroll, square, swordMatthew is slain before an altar by soldiers of Hirtacus and is beheadedCalling of Matthew (Levi), the tax-collector (usually with money lying on the table and people paying taxes) (Matthew 9:9Mark 2:14Luke 5:27-28)
In catalogo
Fonti
- Rijksmuseum
- Immagine: Rijksmuseum — public domain
Nel frattempo, nella vita di Jacques Callot
Tutta la vita1621–1635 · Luogo di lavoro
Nancy
1629–1630
Declines to serve Louis XIII
King Louis XIII of France offers Callot a place at his court, but the artist declines; by one account, as a patriot of Lorraine he could not forgive the king for the devastation of his homeland by French troops.
1629–1630
Lives and works in Paris
From 1629 Callot lives and works in Paris, where his clients include publishers, mostly Parisian; overall he is commissioned by the courts of Lorraine, France and Spain.
c. 1630
Meets Abraham Bosse
The meeting of the Parisian Abraham Bosse with Callot around 1630 makes Bosse his follower: he will later spread the master’s technical innovations across Europe in the first published manual of etching, translated into several languages.
1633
The French invasion of Lorraine
In the year the large series of the “Miseries of War” is published, Lorraine is invaded by the French during the Thirty Years’ War; Callot’s etchings of pillaging, executions and the lot of crippled beggars are counted among the most powerful artistic statements of the inhumanity of war and will later inspire Goya.
