Profilo della Città di Roma Vista dalla parte della Trinità del Monte Delineata nell'istesso luogo...
| Reference: | S44760 |
| Author | Israel SILVESTRE |
| Year: | 1687 |
| Zone: | Rome |
| Printed: | Paris |
| Measures: | 2590 x 515 mm |
| Reference: | S44760 |
| Author | Israel SILVESTRE |
| Year: | 1687 |
| Zone: | Rome |
| Printed: | Paris |
| Measures: | 2590 x 515 mm |
Description
Profilo della Città di Roma Vista dalla parte della Trinità del Monte Delineata nell'istesso luogo, e dedicato a Monsignor Delfino - Profil de la ville de Rome, veue du coté de la Trinité des Monts, Dessiné sur le Lieu et Dedié a Monseigneur Le Dauphin.
Panorama of Rome from the Pincio Hill, 1687, from a drawing of 1646.
Etching in four plates, signed in plate Israel Silvestre disegno, ed incise.
Example in the very rare first state of five, first of two according to Faucheux.
“C'est une vue générale de Rome prise sur le mont Pincio, près de la vigne de Médicis. Cette vue est en quatre feuilles, les deux feuilles de droite ont le texte en français, tel qu'il est décrit ci-dessus, en comptant la première feuille de droite à partir du milieu. Les deux feuilles de gauche ont le même texte en italien. Les deux textes sont séparés par les armes du Dauphin. Chaque feuille a 655 de large sur 508 de haut. Travail médiocre qui se ressent de la vieillesse de Silvestre, et peut être aussi de l'inexpérience de ses élèves. Il y a deux états: 1er État. C'est celui qui est décrit. Il y a eu très-peu d'épreuves de ce 1er état; 2º État. A droite des armes et avant le mot Profil, on lit: ce Vend a Paris chez le S Fagnani rue des Prouveres entre St Eustache et la rue des Deux Ecus avec pr. du Roy” (cf. Louis-Etienne Faucheux, Catalogue raisonné de toutes les estampes qui forment l'oeuvre d'Israel Silvestre, précedé d'une notice sur sa vie p. 80).
This very rare first state of the plate ("Il y a eu très-peu d'épreuves de ce 1er état"), engraved and printed by Israel Silvestre in 1687, contains the dedication to the Dauphin of France. A later reprint is edited by the publisher Fagnani. Faucheux, does not describe subsequent editions of the plate; a third state, with a dedication to Pope Benedict XIV (elected in 1740), is printed by the Calcografia Camerale in Rome directed by Silvio Valenti. The fourth state of the plate is reprinted unchanged by Carlo Losi with the date 1773. A fifth, more common, edition of the panorama comes to light in the early 19th century, printed with numerous variations by Giovanni Maria Cassini.
The Istituto Nazionale per la Grafica owns a fourth-state example, with a dedication to Benedict XIV. It was displayed at the exhibition "Roma Veduta" at Palazzo Poli (September 30, 2000 - January 28, 2001): “In basso è la legenda con 56 voci di riferimento, in italiano e francese (da Palazzo della Villa Medici al Monte Pincio a Chiesa e Conv degli Agost.ni della Madonna del Popolo). La veduta panoramica di Roma, una delle maggiori per formato tra tutte quelle esistenti, fu incisa nel 1687, nell'ultimo periodo di attività dell'artista francese, sulla base, tuttavia, di un disegno risalente al 1646. Il punto di vista prescelto, la collina del Pincio, (opposto a quello della veduta oblunga da Monte Mario incisa nel 1642) permette una rappresentazione del centro della città estremamente analitica e costituisce uno dei documenti più importanti per la ricostruzione della fisionomia urbana. Gli edifici sono ripresi con precisione e meticolosità nei dettagli senza tuttavia compromettere la composizione d'insieme. Si può notare la chiesa di S. Carlo Borromeo al Corso ancora priva della facciata. L'esemplare esposto è di tiratura settecentesca e le variazioni rispetto all'esemplare di primo stato riguardano le iscrizioni e la dedica, originariamente al Delfino di Francia. Il panorama venne pubblicato, con alcuni aggiornamenti, da Giovanni Maria Cassini nel 1807 presso la Calcografia Camerale su disegno di Francesco Miccinelli (cfr. M. G. Sassoli, Roma Veduta, p. 170).
Magnificent proof, richly toned, printed on contemporary laid paper, light oxidation and browning, minimal marginal cuts, otherwise and given the considerable size in very good condition.
Very rare first edition of this important panorama of Rome.
Bibliografia
Louis-Etienne Faucheux, Catalogue raisonné de toutes les estampes qui forment l'oeuvre d'Israel Silvestre, précedé d'une notice sur sa vie, Parigi (1969), n. 50, I/II; Mario Gori Sassoli, Roma Veduta, disegni e stampe panoramiche della città dal XV al XIX secolo (2000) pp. 170-171 n. 28; Le Blanc C., Manuel De L'amateur D'estampes (1854-59) p. 226, V 0003; Incisioni Romane Di Israel Silvestre (1821-91), 96, V 0001; La collezione del principe da Leonardo a Goya: disegni e stampe della raccolta Corsini (2004), p. 265; Roma la magnifica visione Vedute panoramiche del XVIII e XIX secolo dalle collezioni del Museo di Roma, (2016), p. 46, n. 3; André Chastel, Philippe Morel, La Villa Médicis: Documentation and description (1989), p. 106, n. 96; Claude Lorrain e i pittori lorenesi in Italia nel XVII secolo, mostra Accademia di Francia a Roma, aprile-maggio 1982 a cura di Jacques Thuillier (1982), p. 368; E. De Silvestre, Reinsegnements sur quelques peintres et graveurs des XVII et XVIII siècles. Israel Silvestre et ses descendants, Paris 1869, p. 29; Arrigoni-Bertarelli 1939, p. 24, п. 190.
Israel SILVESTRE (Nancy, 1621 - Parigi, 1691).
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Born in Nancy on August 13, 1621 and baptized on August 15 in Saint-Epvre, Israël Silvestre learned the first rudiments of drawing and painting under the direction of his father and showed a great aptitude for the arts from an early age. In 1631, at the age of 10, he lost his parents and came to Paris to take refuge with his maternal uncle and godfather, Israël Henriet, who received him as his son. Israël Henriet was a mediocre painter but an excellent draftsman. He had studied with the same masters as his friend Jacques Callot, both in Lorraine and in Italy. Born in Nancy, he had long established himself in Paris as a painter and draftsman to the king. Taking advantage of the drawing mania of the time, he taught this genre to the court figures and even had the honor of counting Louis XIII among his students (here we find the origin of the position of "drawing master" that remained in the family until the French Revolution and was held without interruption by five generations of Silvestre). Israël Henriet also made a living from a prosperous print trade, publishing in particular the plates of Callot, of which he had the exclusive rights, as well as those of Della Bella, Le Clerc, Audran, etc. Arriving very young in Paris, Israël Silvestre perfected the art of drawing with his uncle, who took him as a pupil, giving him the opportunity to copy Callot's works in pen, and learned to engrave in intaglio. He made rapid progress that allowed him, after a few years of assiduous work, to embark on an independent career. It was then that he traveled around Paris and several provinces of France and composed numerous works that established his reputation as a draftsman and engraver. As was customary at the time, he made several trips to Italy to copy the old masters and to improve his skills with the greatest masters. Faucheux fixes the dates of these trips, the first before 1640 (he was not yet 20 years old), the second from 1643 to 1644 and the last around 1653. Israel brought back numerous views of Italy, almost all of them engraved. Until 1659, he made other trips to France and Lorraine, from which he drew and engraved many images. On his return to Paris, he settled at his uncle's in rue de l'Arbre Sec, and profited from the fruits of his labor by obtaining the privilege of printing and selling his works. In 1661, the year of Israël Henriet's death, he inherited from the latter, as a universal legatee, the collection of plates by Callot and Della Bella, which, added to his own production, secured him a comfortable income.
Israël Silvestre married late, at the age of 41, and on September 10, 1662, in his parish of Saint Germain l'Auxerrois, he married Henriette Sélincart, the daughter of a Paris merchant. We know of at least 10 children from this union, only 5 of whom survive their father. Henriette is said to have been a woman remarkable for both her wit and her beauty, as shown in the portraits done by Charles Lebrun.
Her marriage did not slow down Israel's artistic career. In 1662, he was appointed draughtsman and engraver to the king, and in 1667 he was appointed master draughtsman of the pages of the Grande Ecurie, and in 1673 he was appointed master draughtsman to the Dauphin (the eldest son of Louis XIV and grandfather of Louis XV, called the Grand Dauphin). He also received a patent granting him accommodation in the galleries of the Louvre in 1668. Israel was admitted to the Royal Academy of Painting and Sculpture in 1670 on the recommendation of Charles Lebrun. He was also the head of an important workshop, where he had at least two students, the engravers François Noblesse and Meunier, as well as numerous collaborators among the best artists of their time: Stephen de LaBella, Jean Le Pautre, the three Pérelle (Gabriel, Nicolas and Adam), François Collignon, Jean Marot, etc..
It is impossible to make a complete inventory of Israël Silvestre's works, so prolific was the artist. He left numerous drawings and more than a thousand engravings (see Faucheux "Catalogue raisonné de toutes les estampes qui forment l'œuvre d'I.S."). However, among his most beautiful works, we can mention the Carrousel of 1662, the representation of the "Plaisirs de l'Isle Enchantée", the views of the royal residences of the Ile de France, including Versailles, Vaux and Fontainebleau, or the suites of the churches of Rome.
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Israel SILVESTRE (Nancy, 1621 - Parigi, 1691).
|
Born in Nancy on August 13, 1621 and baptized on August 15 in Saint-Epvre, Israël Silvestre learned the first rudiments of drawing and painting under the direction of his father and showed a great aptitude for the arts from an early age. In 1631, at the age of 10, he lost his parents and came to Paris to take refuge with his maternal uncle and godfather, Israël Henriet, who received him as his son. Israël Henriet was a mediocre painter but an excellent draftsman. He had studied with the same masters as his friend Jacques Callot, both in Lorraine and in Italy. Born in Nancy, he had long established himself in Paris as a painter and draftsman to the king. Taking advantage of the drawing mania of the time, he taught this genre to the court figures and even had the honor of counting Louis XIII among his students (here we find the origin of the position of "drawing master" that remained in the family until the French Revolution and was held without interruption by five generations of Silvestre). Israël Henriet also made a living from a prosperous print trade, publishing in particular the plates of Callot, of which he had the exclusive rights, as well as those of Della Bella, Le Clerc, Audran, etc. Arriving very young in Paris, Israël Silvestre perfected the art of drawing with his uncle, who took him as a pupil, giving him the opportunity to copy Callot's works in pen, and learned to engrave in intaglio. He made rapid progress that allowed him, after a few years of assiduous work, to embark on an independent career. It was then that he traveled around Paris and several provinces of France and composed numerous works that established his reputation as a draftsman and engraver. As was customary at the time, he made several trips to Italy to copy the old masters and to improve his skills with the greatest masters. Faucheux fixes the dates of these trips, the first before 1640 (he was not yet 20 years old), the second from 1643 to 1644 and the last around 1653. Israel brought back numerous views of Italy, almost all of them engraved. Until 1659, he made other trips to France and Lorraine, from which he drew and engraved many images. On his return to Paris, he settled at his uncle's in rue de l'Arbre Sec, and profited from the fruits of his labor by obtaining the privilege of printing and selling his works. In 1661, the year of Israël Henriet's death, he inherited from the latter, as a universal legatee, the collection of plates by Callot and Della Bella, which, added to his own production, secured him a comfortable income.
Israël Silvestre married late, at the age of 41, and on September 10, 1662, in his parish of Saint Germain l'Auxerrois, he married Henriette Sélincart, the daughter of a Paris merchant. We know of at least 10 children from this union, only 5 of whom survive their father. Henriette is said to have been a woman remarkable for both her wit and her beauty, as shown in the portraits done by Charles Lebrun.
Her marriage did not slow down Israel's artistic career. In 1662, he was appointed draughtsman and engraver to the king, and in 1667 he was appointed master draughtsman of the pages of the Grande Ecurie, and in 1673 he was appointed master draughtsman to the Dauphin (the eldest son of Louis XIV and grandfather of Louis XV, called the Grand Dauphin). He also received a patent granting him accommodation in the galleries of the Louvre in 1668. Israel was admitted to the Royal Academy of Painting and Sculpture in 1670 on the recommendation of Charles Lebrun. He was also the head of an important workshop, where he had at least two students, the engravers François Noblesse and Meunier, as well as numerous collaborators among the best artists of their time: Stephen de LaBella, Jean Le Pautre, the three Pérelle (Gabriel, Nicolas and Adam), François Collignon, Jean Marot, etc..
It is impossible to make a complete inventory of Israël Silvestre's works, so prolific was the artist. He left numerous drawings and more than a thousand engravings (see Faucheux "Catalogue raisonné de toutes les estampes qui forment l'œuvre d'I.S."). However, among his most beautiful works, we can mention the Carrousel of 1662, the representation of the "Plaisirs de l'Isle Enchantée", the views of the royal residences of the Ile de France, including Versailles, Vaux and Fontainebleau, or the suites of the churches of Rome.
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