Persephone
| Reference: | S40914 |
| Author | Jan de BISSCHOP |
| Year: | 1670 ca. |
| Measures: | 87 x 205 mm |
€100.00
| Reference: | S40914 |
| Author | Jan de BISSCHOP |
| Year: | 1670 ca. |
| Measures: | 87 x 205 mm |
€100.00
Description
Etching, 1670 circa, signed on plate with the monogram. A fine impression, printed on contemporary laid paper, with margins, very good condition.
The plate si taken from Signorum veterum icones, a collection of Roman sculptures & statues by Jan de Bisschop (Joh. Episcopius), first published in 1668.
This suite of 100 prints by de Bisschop comprises of classical sculptures housed in Dutch and Italian collections in the seventeenth century. Ancient statues were highly regarded as works of art, in particular by artists who admired their representation of anatomy, drapery and poses. This suite includes some of the most important sculptures, from various view points, from which the artist could study.
Some of the classical sculptures reproduced in de Bisschop’s Icones were from the seventeenth-century collections of Gerrit Uylenburgh and Hendrik Scholten, to which de Bisschop had direct access. The sequence of the Icones adhered strictly to the classical tradition: first the individual parts of the body were illustrated (this section was left unfinished at de Bisschop’s premature death), then completesculptures, followed by poses and suggestions for compositions with more than one figure. The prints were intended to provide artists with examples of ideal poses. From the paintings of Adriaen van der Werrff and Nicolaes Verkolje, it is clear just how influential these studies were in the development of Dutch classical painting during the late 17th century.
Literature
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Bibliografia: Universal Catalogue of Books on Art I, p. 117; Bibliothèque Nationale 150, 337; Thieme-Becker 22, 235; Hollstein, Dutch & Flemish etchings, engravings and woodcuts c.1450-1700.6; Le Blanc, Charles, Manuel de l'Amateur d'Estampes 1550-1820.5.
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Jan de Bisschop was the son of Harmen Jansz. de Bisschop and Aaltje Adriaensz. van Noort. Jan preferred to call himself Episcopius (Latin for Bishop) as he had a strong preference for the latin language. He is assumed to have been an apprentice of Bartholomeus Breenbergh (Deventer, 1598-Amsterdam, 1657), though he was a dillettante. Jan studied Law in Leyden after which he settles as a lawyer in The Hague in 1652. He married Anna van Baerle (1615-1676) in 1653. In The Hague de Bisschop held close connections and friendship with the Huygens family, especially with Constantijn Huygens Jr (1628-1697). Together with Jacob van der Does Sr., Maerten Lengele, Willem Doudijns and probably Constantijn Huygens Jr. as well, Jan de Bisschop founded a private drawing academy to promote Classicism. De Bisschops most important publications on Claccisism would follow several years later with Signorum veterum Icones after classical sculptures in Rome and Paradigmata Graphices Variorum Artificium with etchings after drawings by Italian Masters. Jan de Bisschop died of tuberculosis in 1671, after which his drawings and prints were auctioned. The copper plates for his etchings were purchased by Nicolaus Visscher who published a new edition of his graphics (Icones and Paradigmata). Jan de Bisschop started copying after paintings by 16th and 17th century Masters around 1655. His goal was to recreate the original painting fully respecting the artists style and rendering, though translated into another medium with brush and ink on paper.
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Literature
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Bibliografia: Universal Catalogue of Books on Art I, p. 117; Bibliothèque Nationale 150, 337; Thieme-Becker 22, 235; Hollstein, Dutch & Flemish etchings, engravings and woodcuts c.1450-1700.6; Le Blanc, Charles, Manuel de l'Amateur d'Estampes 1550-1820.5.
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Jan de Bisschop was the son of Harmen Jansz. de Bisschop and Aaltje Adriaensz. van Noort. Jan preferred to call himself Episcopius (Latin for Bishop) as he had a strong preference for the latin language. He is assumed to have been an apprentice of Bartholomeus Breenbergh (Deventer, 1598-Amsterdam, 1657), though he was a dillettante. Jan studied Law in Leyden after which he settles as a lawyer in The Hague in 1652. He married Anna van Baerle (1615-1676) in 1653. In The Hague de Bisschop held close connections and friendship with the Huygens family, especially with Constantijn Huygens Jr (1628-1697). Together with Jacob van der Does Sr., Maerten Lengele, Willem Doudijns and probably Constantijn Huygens Jr. as well, Jan de Bisschop founded a private drawing academy to promote Classicism. De Bisschops most important publications on Claccisism would follow several years later with Signorum veterum Icones after classical sculptures in Rome and Paradigmata Graphices Variorum Artificium with etchings after drawings by Italian Masters. Jan de Bisschop died of tuberculosis in 1671, after which his drawings and prints were auctioned. The copper plates for his etchings were purchased by Nicolaus Visscher who published a new edition of his graphics (Icones and Paradigmata). Jan de Bisschop started copying after paintings by 16th and 17th century Masters around 1655. His goal was to recreate the original painting fully respecting the artists style and rendering, though translated into another medium with brush and ink on paper.
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