- New
The Madonna and Child surrounded by God the Father, the Holy Spirit and Two Angels
| Reference: | S30156 |
| Author | Giovanni Benedetto CASTIGLIONE detto "Il Grechetto" |
| Year: | 1645 ca. |
| Measures: | 205 x 294 mm |
€1,300.00
- New
| Reference: | S30156 |
| Author | Giovanni Benedetto CASTIGLIONE detto "Il Grechetto" |
| Year: | 1645 ca. |
| Measures: | 205 x 294 mm |
€1,300.00
Description
Etching, 1645 circa, without signature.
Example in the second state with plate oxidations on upper right corner.
The Nativity was a subject Grechetto depicted more than once in his career, and it was one among his most famous monotypes. The preparatory drawing is kept at the Windsor Castle.
“The date of 1645 for this work is usually determined by the presumed relationship between the etching and a contemporary altarpiece in S. Luca in Genoa. However, this relationship is not so evident and may exist only in the compositional structure. Several stylistic similarities suggest a tentative date of 1645-47.
The preparatory drawing for this etching, in reverse and bearing signs of tracing, is in Windsor (inv. 3932). Two other drawings (Windsor 3864 and 4058) гергоduce sections of the composition: an "Adoration of the Shepherds" in which the Virgin corresponds closely to the figure in the etching, and a "Nativity with God the Father" in which the central group is reproduced. According to Anthony Blunt, two other drawings in Windsor, both representing the "Adoration of the Shepherds" derive their inspiration from this etching. A hand-painted watercolor drawing (Windsor inv. 3933), also representing an "Adoration of the Shepherds" reproduces the position of the Virgin. Similar comparisons can be made with the figure of God the Father in a monotype by the artist, "Nativity with God the Father". This similarity was noted by Zani, who also noted that the figure of the Holy Spirit is not included in this monotype. The plate for the etching is in the Calcografia Nazionale, Rome” (cf. P. Bellini, Giovanni Benedetto Castiglione in “The Illustrated Bartsch”, vol. 46, p. 23).
A fine impression, printed on contemporary laid paper with illegible watermark (it seems to be “encircled fleur-de-lys”), with thin margins, signs of central paper fold, otherwise in excellent condition.
Bibliografia
Bartsch, Le Peintre graveur (XXI.15.11); Bellini, L'Opera incisa di Giovanni Benedetto Castiglione (19.II); P. Bellini, Giovanni Benedetto Castiglione in “The Illustrated Bartsch”, vol. 46, p. 23, n. 011 II/II; Le Blanc C., Manuel de l'amateur d'estampes, 6, V. 1 P. 612; Nagler G.K., Neues Allgemeines Künstler-Lexikon, V. 2 p. 428.
Giovanni Benedetto CASTIGLIONE detto "Il Grechetto" (Genova 1616 - Mantova 1670)
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His origin and his edication in Genua led Castiglione to make acquaitance with the Flemish painting, especially through Jaan Roos e Van Dyck from whom he took the warm, vibrating chromatism.
He lived in Rome from 1632 to 1635 and from 1647 to 1651; among the two periods in Rome, he lived in Naples and he also started studying the intellectualistic classicism of Poussin.
His favourite subjects, both in painting and engraving, were taken from the classical moralism of Stoicism, very typical in Poussin, which enabled him to create his own peculiar repertoire, much more refined in comparison with contemporary artists.
He spent his last working years in Mantua, at the Duke’s Palace; the production of this period enhances his chromatism and the visionary elements of his previous production.
Castiglione has been a silful engraver; he loved this particular art for he thought it was the main mean to widespread his iconography. He was the first, in Italy, to appreciate and imitate Rembrandt.
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Giovanni Benedetto CASTIGLIONE detto "Il Grechetto" (Genova 1616 - Mantova 1670)
|
His origin and his edication in Genua led Castiglione to make acquaitance with the Flemish painting, especially through Jaan Roos e Van Dyck from whom he took the warm, vibrating chromatism.
He lived in Rome from 1632 to 1635 and from 1647 to 1651; among the two periods in Rome, he lived in Naples and he also started studying the intellectualistic classicism of Poussin.
His favourite subjects, both in painting and engraving, were taken from the classical moralism of Stoicism, very typical in Poussin, which enabled him to create his own peculiar repertoire, much more refined in comparison with contemporary artists.
He spent his last working years in Mantua, at the Duke’s Palace; the production of this period enhances his chromatism and the visionary elements of his previous production.
Castiglione has been a silful engraver; he loved this particular art for he thought it was the main mean to widespread his iconography. He was the first, in Italy, to appreciate and imitate Rembrandt.
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