- New
Achilles Dragging the Body of Hector Around the Walls of Troy
| Reference: | S48731 |
| Author | Pietro TESTA detto "Il Lucchesino" |
| Year: | 1648 ca. |
| Measures: | 415 x 265 mm |
€900.00
- New
| Reference: | S48731 |
| Author | Pietro TESTA detto "Il Lucchesino" |
| Year: | 1648 ca. |
| Measures: | 415 x 265 mm |
€900.00
Description
Example of first state, before any publisher’s address.
Good example, printed on contemporary laid paper, with “anchor encircled with star”, thin margins, very good condition.
The print shows a climactic moment in the Trojan War, when Achilles, roused out of his silence by the killing of his friend Patroclus, kills King Priam's son Hector. Incensed with wrath, Achilles takes his vengeance a step further, and drags Hector's body from his chariot around the walls of Troy. The king and his wife, who were unable to dissuade this shameful act, remain on top of the walls. She faints at the sight of her son's body being dragged through the dust; not at his noble death.
This print is part of Testa's incomplete Life of Achilles series, which only comprised three prints.
Pietro Testa was called Lucchesino for he was born in Lucca. There are but a few news about his apprenticeship in his hometown; for sure, he went to Rome in 1629 to study in the school of Domenichino first and then, towards the end of the year, he moved to the studio of his real master, Pietro da Cortona. His introvert temper caused him a lot of troubles; Cortona, in fact, was obliged to send him away due to his hostile and disdainful behaviour.
Testa went then to the house of his first patron, the famous collector Cassiano del Pozzo, and for him he realized his drawings from antiques. Maybe it was in this house that he met Nicolas Poussin who deeply influenced his art both in the neo-Venetian phase and the intellectual classicist one, from 1635.
His engravings though, about 40 pieces, have been considered, starting from Sandrart and Bladinucci, the most important graphic works of the Italian XVII century.
Bibliografia
Bartsch XX, 222, n. 22; Bellini, 37; Cropper, Pietro Testa, n. 121.
Pietro TESTA detto "Il Lucchesino" (Lucca 1611 - Roma 1650)
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Pietro Testa was called Lucchesino for he was born in Lucca. There are but a few news about his apprenticeship in his hometown; for sure, he went to Rome in 1629 to study in the school of Domenichino first and then, towards the end of the year, he moved to the studio of his real master, Pietro da Cortona. His introvert temper caused him a lot of troubles; Cortona, in fact, was obliged to send him away due to his hostile and disdainful behaviour.
Testa went then to the house of his first patron, the famous collector Cassiano del Pozzo, and for him he realized his drawings from antiques. Maybe it was in this house that he met Nicolas Poussin who deeply influenced his art both in the neo-Venetian phase and the intellectual classicist one, from 1635.
His engravings though, about 40 pieces, have been considered, starting from Sandrart and Bladinucci, the most important graphic works of the Italian XVII century.
His last production is characterized by classical and complex symbols and by the myths of Stoic philosophy, which he had followed all along his life. This pessimistic idea of life and the universal drama that humanity was living can be considered the main causes of his melacholy and sadness which led to commit suicide in 1650, when Testa threw himself down to the Tiber, near Lungara
|
Pietro TESTA detto "Il Lucchesino" (Lucca 1611 - Roma 1650)
|
Pietro Testa was called Lucchesino for he was born in Lucca. There are but a few news about his apprenticeship in his hometown; for sure, he went to Rome in 1629 to study in the school of Domenichino first and then, towards the end of the year, he moved to the studio of his real master, Pietro da Cortona. His introvert temper caused him a lot of troubles; Cortona, in fact, was obliged to send him away due to his hostile and disdainful behaviour.
Testa went then to the house of his first patron, the famous collector Cassiano del Pozzo, and for him he realized his drawings from antiques. Maybe it was in this house that he met Nicolas Poussin who deeply influenced his art both in the neo-Venetian phase and the intellectual classicist one, from 1635.
His engravings though, about 40 pieces, have been considered, starting from Sandrart and Bladinucci, the most important graphic works of the Italian XVII century.
His last production is characterized by classical and complex symbols and by the myths of Stoic philosophy, which he had followed all along his life. This pessimistic idea of life and the universal drama that humanity was living can be considered the main causes of his melacholy and sadness which led to commit suicide in 1650, when Testa threw himself down to the Tiber, near Lungara
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