Unus ex filijs Niobes (Florentin Niobid)
| Reference: | S6167 |
| Author | François Perrier |
| Year: | 1653 ca. |
| Printed: | Rome |
| Measures: | 170 x 225 mm |
€90.00
| Reference: | S6167 |
| Author | François Perrier |
| Year: | 1653 ca. |
| Printed: | Rome |
| Measures: | 170 x 225 mm |
€90.00
Description
The sculpture is one of 12 found fortuitously in Rome in early 1583 in the vineyard that belonged to Gabriele and Tomaso Tommasini, located a short distance from St. John Lateran. almost all of the statues made up a grandiose group illustrating one of the most tragic stories of ancient myth: the slaying of Niobe's children. The focal center of the group is Niobe, who attempts to protect her youngest daughter, and directs her terrified and pleading gaze heavenward.
The Niobes, since the late 16th century, were placed in the gardens of Villa Medici on the Pincio and then moved to Florence in 1770, again at the behest of Grand Duke Peter Leopold.
Translated with DeepL.com (free version)
Plate taken from the famous Segmenta nobilium signorum et statuarum, quae temporis dentem invidium evasere Urbis aeternae ruinis erepta Typis aeneis ab ce commissa Perpetuae venerationis monumentum, Rome, De' Rossi, 1653 or ante 1691.
Trained as a painter in Rome in the years 1620-25 in the workshop of Giovanni Lanfranco, François Perrier dictated the Borgognone (whence the monogram FPB, with F and P superimposed) operated in the early thirties in the orbit of Simon Vouet in Paris, where he had as students Le Brun and Dufresnoy. Back in Rome for a decade starting in 1635, he produced two collections of etchings from antiquity, the Segmenta (1638) and the Icones et segmenta illustrium e marmore tabularum quae Romae adhuc extant... printed on his return to Paris (1645).
The Segmenta reproduce in one hundred plates a wide collection of ancient statues "spared by the envious tooth of Time" present in the main Roman collections; the Icones instead the most famous bas-reliefs, in fifty-five plates. Both works were designed with the fundamental collaboration of Giovan Pietro Bellori, the greatest theoretical and historical-artistic authority of seventeenth-century classicism, and other scholars, and belong to the genre of atlases of Roman antiquities spread throughout Europe from the mid-sixteenth century.
Perrier's atlas, conceived above all as a sort of 'paper academy' for artists - almost a printed version of a notebook of models - supported by a vast antiquarian erudition, had a considerable fortune, testified by the numerous reprints and derivations over three centuries.
The discrepancies of some plates with respect to the first edition of the Segmenta (many are in counterpart, and there are widespread differences in the hatching) correspond not to proofs, as assumed by some, but to the re-edition at the Roman printing house De 'Rossi, inventoried under the title of Statue insigni di Roma intagliate in acquaforte, e copiate da Francesco Perrier libro in 103 quarti fogli imperiali nel 1677 (cf, Le regole della bellezza 2012, pp. 9-10) and later in the Indice 1797, p. 4), made with a new set of plates (now preserved at the Rome Calcografia) in the impossibility of reusing the original ones, returned to France with Perrier.
Beautiful proof, printed on contemporary laid paper, trimmed in copper, in excellent condition.
Bibliografia
Lorenzo Fatticcioni, Le regole della bellezza. Saperi antiquari e teorie dell'Arte nei Segmenta nobilium Signorum et Statuarum di François Perrier, (2012); Gerardo de Simone, François Perrier, Segmenta nobilium signorum et statuarum, Roma, De' Rossi 1653; con disegni della bottega Baratta (2016).
François Perrier (1590 - 1650)
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François Perrier (1590–1650) was a French painter, draftsman, and printmaker. Perrier was instrumental in introducing into France the grand style of the decorative painters of the Roman Baroque. He is also remembered for his two collections of prints after antique sculptures, the Segmenta nobilium signorum et statuarum quae temporis dentem invidium evasere (Paris, 1638), and Icones et segmenta...quae Romae adhuc extant (Paris, 1645). These prints provided visual repertories of classical models for generations of European artists and connoisseurs. Perrier was born in Pontarlier. During the years 1620–1625, he resided in Rome, where he took as his model the practitioner of academic Baroque classicism, Giovanni Lanfranco while he was employed on the fresco decoration of the dome of S. Andrea della Valle, one of the earliest examples of Roman Baroque ceiling decoration. On his return to France, following a brief stay in Lyon he settled in Paris in 1630. Here he worked in the classicising circle of Simon Vouet. In 1632–1634, he had as his pupil Charles Le Brun, who would become a central figure of official French painting in the age of Louis XIV. Perrier returned to Rome in 1635, remaining there for the next decade. During this period he created decorations for palazzo Peretti and saw to the publication in Paris of his great repertory of images. In 1645, once again in Paris, he painted the ceiling of the gallery of the Hôtel de La Vrillière, now the seat of the Banque de France and worked with Eustache Le Sueur on the cabinet de l’amour in the Hôtel Lambert. In 1648, Perrier was one of the founders of the French Royal Academy of Painting and Sculpture and was elected as one of the original twelve elders in charge of its running. He died in Paris.
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François Perrier (1590 - 1650)
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François Perrier (1590–1650) was a French painter, draftsman, and printmaker. Perrier was instrumental in introducing into France the grand style of the decorative painters of the Roman Baroque. He is also remembered for his two collections of prints after antique sculptures, the Segmenta nobilium signorum et statuarum quae temporis dentem invidium evasere (Paris, 1638), and Icones et segmenta...quae Romae adhuc extant (Paris, 1645). These prints provided visual repertories of classical models for generations of European artists and connoisseurs. Perrier was born in Pontarlier. During the years 1620–1625, he resided in Rome, where he took as his model the practitioner of academic Baroque classicism, Giovanni Lanfranco while he was employed on the fresco decoration of the dome of S. Andrea della Valle, one of the earliest examples of Roman Baroque ceiling decoration. On his return to France, following a brief stay in Lyon he settled in Paris in 1630. Here he worked in the classicising circle of Simon Vouet. In 1632–1634, he had as his pupil Charles Le Brun, who would become a central figure of official French painting in the age of Louis XIV. Perrier returned to Rome in 1635, remaining there for the next decade. During this period he created decorations for palazzo Peretti and saw to the publication in Paris of his great repertory of images. In 1645, once again in Paris, he painted the ceiling of the gallery of the Hôtel de La Vrillière, now the seat of the Banque de France and worked with Eustache Le Sueur on the cabinet de l’amour in the Hôtel Lambert. In 1648, Perrier was one of the founders of the French Royal Academy of Painting and Sculpture and was elected as one of the original twelve elders in charge of its running. He died in Paris.
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