Jacques CallotFrança, 1592–1635De bezetene
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Desconhecido: o museu guarda silêncio
Museu Estatal de Amesterdão
Amesterdão, Países Baixos
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- Fonte
- Os dados da própria coleção do museu
Sobre a obra
In the museum's own words — the original
Voorstelling van een bezeten vrouw die in een kerkruimte in bedwang wordt gehouden door twee mannen, terwijl een priester voor haar uit een boek leest, teneinde de demonen uit haar te drijven. Om deze vier figuren heen staan vele mannen en vrouwen toe te kijken. Deze scène is gevat in een decoratieve omlijsting. Onderaan een cartouche met Italiaanse tekst.
Museu Estatal de Amesterdão
Pormenores
- Número de inventário
- RP-P-OB-4834
What it shows
Fontes
- Museu Estatal de Amesterdão: the museum's own open data · obtido há 6 dias
- Imagem: Museu Estatal de Amesterdão — public domain
Entretanto, na vida de Jacques Callot
A vida inteira1611–1621 · Local de trabalho
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.
