Jacques Callot法国, 1592–1635Katafalk van keizer Matthias
可否一睹真容？
未知
阿姆斯特丹, 荷蘭
所有者已知，目前是否展出尚不清楚。
- 出处
- 博物馆
关于作品
博物馆的介绍 — 荷兰语
In een kapel van de San Lorenzo te Florence staat de katafalk van keizer Matthias voor een piramide van kaarsen. Er wordt juist een dodenmis gevierd; tussen de pilaren van de kapel zitten de toehoorders, geestelijken en edellieden. Onder de voorstelling een tweeregelig onderschrift in het Italiaans.
阿姆斯特丹国家博物馆
作品信息
- 馆藏编号
- RP-P-OB-20.836
画面内容
已收入目录
出处
- 阿姆斯特丹国家博物馆
- 图片： 阿姆斯特丹国家博物馆 — public domain
与此同时，在Jacques Callot的生活中
完整生平1611–1621 · 工作地
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 · 工作地
Nancy
