The Nativity with Angels
| Reference: | S21198 |
| Author | Bartolomeo BISCAINO |
| Year: | 1650 ca. |
| Measures: | 285 x 395 mm |
€1,200.00
| Reference: | S21198 |
| Author | Bartolomeo BISCAINO |
| Year: | 1650 ca. |
| Measures: | 285 x 395 mm |
€1,200.00
Description
Etching, 1650-1657 circa, signed at lower left: 'BISCAI. VS GENVE IS F.', and inscribed with the publisher's address at lower right: 'Daman. ex.' Example in the sixth state, of eight: at lower center, in the margin, is added: ′in Bassano per il Remondini′
The composition was inspired by Giovanni Benedetto Castiglione’s 1645 painting of the Nativity in the church of Saint Luca in Genoa. Biscaino worked in Genoa and his later prints show the influence of Castiglione.
Bellini in TIB 1987 (p. 306) mentions two related drawings, but whereabouts are unknown.
Very good example, with wide margins, in perfect condition.
Literature
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Bartsch XXI.185.7; Bellini in TIB 1987, 4718.007. S6.
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Bartolomeo BISCAINO (Genova 1632 circa - 1657)
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Scholar of his own father at first, the painter Giovanni Andrea, Bartolomeo went to study afterwards to the studio of Valerio Castello. From his second master he learned so well how to use colors and models that nowadays is still hard to determine if a painting has been realized by Bartolomeo or Valerio.
His main production, though, can be considered the graphic one, both through drawing (he was extremely versatile) and etching, his favourite technique. We know that, as a fringed and bright, is very close to that of Castiglione and can be considered Biscanio’s main characteristic. The neo-Mannerist style of this XVII century artist is also a sign of his admiration for Parmigianino, whom he met and tried to imitate.
Both his drawings and prints were looked with favour by collectors of XVIII and XIX centuries, especially because of their elegance and refinement.
His search for the colour effects, in particular in the white lead retouches on painted maps, can be found also in the chiaro-scuro of his engravings, which underlines the ability of the artist. The catalogue of his production is not wide (Bartsch lists about 40 pieces) for he died very young during the Black Death epidemic in Genua in 1657.
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Literature
|
Bartsch XXI.185.7; Bellini in TIB 1987, 4718.007. S6.
|
Bartolomeo BISCAINO (Genova 1632 circa - 1657)
|
Scholar of his own father at first, the painter Giovanni Andrea, Bartolomeo went to study afterwards to the studio of Valerio Castello. From his second master he learned so well how to use colors and models that nowadays is still hard to determine if a painting has been realized by Bartolomeo or Valerio.
His main production, though, can be considered the graphic one, both through drawing (he was extremely versatile) and etching, his favourite technique. We know that, as a fringed and bright, is very close to that of Castiglione and can be considered Biscanio’s main characteristic. The neo-Mannerist style of this XVII century artist is also a sign of his admiration for Parmigianino, whom he met and tried to imitate.
Both his drawings and prints were looked with favour by collectors of XVIII and XIX centuries, especially because of their elegance and refinement.
His search for the colour effects, in particular in the white lead retouches on painted maps, can be found also in the chiaro-scuro of his engravings, which underlines the ability of the artist. The catalogue of his production is not wide (Bartsch lists about 40 pieces) for he died very young during the Black Death epidemic in Genua in 1657.
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