Jacques CallotFrancia, 1592–1635Titelblad voor de tragedie 'Il Solimano'
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Amsterdam, Paesi Bassi
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- Fonte
- Il museo
Sull’opera
Con le parole del museo — in olandese
Sultan Suleyman staat tussen twee sokkels met wapentuig, een schild met Italiaanse tekst in de hand. Boven zijn hoofd het wapen van de Medici; op de achtergrond oorlogstaferelen.
Rijksmuseum
Scheda
- Numero di inventario
- RP-P-OB-5790
Che cosa raffigura
In catalogo
Fonti
- Rijksmuseum
- Immagine: Rijksmuseum — public domain
Nella vita di Jacques Callot
Tutta la vita1611–1621 · Luogo di lavoro
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 · Luogo di lavoro
Nancy
