Jacques CallotFrança, 1592–1635De boom van de Heilige Franciscus
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Amesterdão, Países Baixos
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- Fonte
- O museu
Sobre a obra
Nas palavras do museu — em holandês
Twaalf Franciscaner monniken knielen onder een boom, waarboven de Heilige Drie-eenheid te zien is: God (links) met rijksappel, Christus (rechts) met kruis en rijksappel en de Heilige Geest in de gedaante van een duif. Op de achtergrond achter de boom zijn een kerk en wat huizen te zien.
Museu Estatal de Amesterdão
Pormenores
- Número de inventário
- RP-P-OB-4821
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Fontes
- Museu Estatal de Amesterdão
- Imagem: Museu Estatal de Amesterdão — public domain
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.
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 · Local de trabalho
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”.
