- New
The Punishment of Tityus
| Reference: | S47113 |
| Author | Nicolas Beatrizet detto BEATRICETTO |
| Year: | 1550 ca. |
| Measures: | 375 x 270 mm |
€1,100.00
- New
| Reference: | S47113 |
| Author | Nicolas Beatrizet detto BEATRICETTO |
| Year: | 1550 ca. |
| Measures: | 375 x 270 mm |
€1,100.00
Description
Engraving, ca. 1550, inscribed in the lower left corner: “MICH.A.B. / INVENT,” and on the right “ANT SALAMANC / EXCVDEBAT”.
From a drawing by Michelangelo now preserved at Windsor Castle.
Example in the first state, of four, before the address of Giovan Battista de Rossi.
The engraving, although unsigned, is attributed to Nicolas Beatrizet of Lorraine, active in Rome where he was better known as Beatricetto. It is the first derivation from Michelangelo's drawing, by the publisher Antonio Salamanca. The work was copied, in counterpart, by rival publisher Antonio Lafreri. Claudio Salsi and Alessia Alberti prefer, however, to treat the engraver as anonymous, asserting that the model from which the engraving tradition started was Lafreri's own. In the writer's personal opinion, both versions are to be attributed to the Lorraine artist, who worked for both publishers and already replicated other subjects, producing them first for the Salamanca and then for Lafreri.
As Claudio Salsi points out (D'Après Michelangelo pp. 104-105) "The torture of the giant Tizio" after Raphael was reproduced during the sixteenth century in three different engravings, all published in Rome, the size similar to the original drawing preserved in Windsor (inv. RL. 12771). The three versions - the oldest of which was edited by Antonio Salamanca and Antonio Lafreri (the third dates back to the end of the century) don’t derive from the original throught differen ways, but one of these three constituted the model for the others: the landscape and the same Latin inscription in the lower margin are clear proof. Identifying the model is open question: Heinecken, Bartsch and recently Suzanne Boorsch, Bruce Davis and Silvia Bianchi, have identified the model and Nicolas Beatrizet’style in the Salamanca edition; Stefania Massari and the authors of the Las Furias catalog (Museo del Prado, 2014) conversely recognize Beatrizet's style and model in the Lafreri edition. Massari underlines the stylistic and formal link with the "Rape of Ganymede", traditionally referred to the Lorraine artist.
Good proof, printed on contemporary laid paper with unreadable watermark, trimmed at marginal line, traces of glue on verso, otherwise in very good condition. Example lacks the inscription at the bottom.
Bibliografia
Alessia Alberti, D’Après Michelangelo, p. 128, n. 228, I/IV; Robert-Dumesnil, 1835-1871, IX (1865), p. 153, n. 33; Bianchi, 2003b, p. 5, n. 33; Barnes, 2010, p. 196, n. 84; Massari, Tra mito e allegoria, p. 226.
Nicolas Beatrizet detto BEATRICETTO Thionville 1515 circa - Roma 1565
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Nicola or Niccolò Beatricetto, or Beatrice or Beatici or Beatricius or Nicolas Beatrizet Lotharingus according to the original name, was born in 1515 in Thionville, in the French region of Lorraine. He worked as drawer and engraver. He moved to Rome between 1532 and 1540 to study in the studio of Marcantonio and Agostino Veneziano. From the very beginning, he showed his peculiar sense of equilibrium for lines, shadows, tones and he became the leader of foreign engravers and artists in Rome. Under the influence of Agostino Veneziano and Giorgio Ghisi, Beatricetto picked up Raphael and Michelangelo as models for his work.
He worked for Salamanca (1540-1541), for Tommaso Barlacchi (1541-1550) and Lafrery (1548) who eventually added some of his work to his Speculum.
He essentially engraved reproductions of famous works, with sacred scenes and mythological subjects, buildings and palaces of his times. He died in Rome in 1565.
The states of the second half of XVI century bear the names of Claude Duchet and heirs, Paolo Graziani, Pietro dè Nobili; in the XVII century those of Giovanni Orlandi, Philippe Thomassin, Gio.Giacomo dè Rossi “alla pace” and Giovan battista dè Rossi “a piazza Navona”; in the XVIII century that of Carlo Losi.
Bartsch lists 108 prints under his name, Robert-Dumesnil 114 and Passavant 120.
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Nicolas Beatrizet detto BEATRICETTO Thionville 1515 circa - Roma 1565
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Nicola or Niccolò Beatricetto, or Beatrice or Beatici or Beatricius or Nicolas Beatrizet Lotharingus according to the original name, was born in 1515 in Thionville, in the French region of Lorraine. He worked as drawer and engraver. He moved to Rome between 1532 and 1540 to study in the studio of Marcantonio and Agostino Veneziano. From the very beginning, he showed his peculiar sense of equilibrium for lines, shadows, tones and he became the leader of foreign engravers and artists in Rome. Under the influence of Agostino Veneziano and Giorgio Ghisi, Beatricetto picked up Raphael and Michelangelo as models for his work.
He worked for Salamanca (1540-1541), for Tommaso Barlacchi (1541-1550) and Lafrery (1548) who eventually added some of his work to his Speculum.
He essentially engraved reproductions of famous works, with sacred scenes and mythological subjects, buildings and palaces of his times. He died in Rome in 1565.
The states of the second half of XVI century bear the names of Claude Duchet and heirs, Paolo Graziani, Pietro dè Nobili; in the XVII century those of Giovanni Orlandi, Philippe Thomassin, Gio.Giacomo dè Rossi “alla pace” and Giovan battista dè Rossi “a piazza Navona”; in the XVIII century that of Carlo Losi.
Bartsch lists 108 prints under his name, Robert-Dumesnil 114 and Passavant 120.
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