The Mountain of Philosophers
| Reference: | S46886 |
| Author | Stefano Della BELLA |
| Year: | 1661 ca. |
| Measures: | 210 x 265 mm |
€1,500.00
| Reference: | S46886 |
| Author | Stefano Della BELLA |
| Year: | 1661 ca. |
| Measures: | 210 x 265 mm |
€1,500.00
Description
The rock of the philosophers, or Mount Parnassus; in the center, a large mountain, with various philosophers at their feet, dressed in ancient garb, with Diogenes in his barrel to the right, and Archimedes with an armillary sphere in the center, with various figures ascending Parnassus whose summit is covered by clouds. On the left is an angel with a trumpet and banner pointing toward the mountain.
Etching, ca. 1661, signed in plate at lower left S. D. Bella.
Specimen from the second state, with the inscription in the center HAC ITER AD SUPEROS; only one first state of the plate, ante litteram, is known [Rignon collection catalog, Turin 1873].
Magnificent allegorical engraving by Stefano della Bella, with controversial significance. In the past, the work was thought to be associated with and made on the occasion of Alfonso d'Este's wedding to Laura Martinozzi in 1655 (see Jombert no. 185, 18).
However, a specimen of the print found attached to a thesis published by Leonardo Marsilio in 1661 on the theme of the six “mounts,” the arms of the Chigi family, leads De Vesme to believe that it is an allegory dedicated to Pope Alexander VII, a member of the Chigi family who was elected pontiff in 1655.
The mount is traversed by several steps that would correspond to the degrees to be completed to reach virtue and beatitude. In addition, the gibbosities that characterize the mount are six as in the coat of arms of the Chigi family. Several preparatory drawings for the making of the print are known, including some preserved in the Uffizi (invv. 303, 346P, 8009F) and one in the Marucelliana Library (inv. D68)
Stefano della Bella was one of the most interesting and original engravers in 17th-century Florence and can be considered the only brilliant continuator of Jacques Callot's work. His artistic education began in Florence in the workshop of the goldsmiths Gasparo Mola and Orazio Vanni, and the precision of sign, typical of the goldsmith's art, will remain characteristic of his style. He then studied under Giovanni Battista Vanni and perhaps also under Cantagallina and Cesare Dandini, but soon turned to engraving. His real master can be considered Jacques Callot, the French engraver who stayed in Florence for a long time and left a strong imprint on the city's artistic scene.
The most important years of his career were the ones he spent in Paris, from 1639 to 1650, salaried by Lorenzo de' Medici: he worked together with Israel Silvestre, with the publishers Langlois, Ciartres and Pierre Mariette, for French printers and for commissions of great prestige, such as those of 1641 for Cardinal Richelieu, who entrusted him with illustrations of his warlike exploits.
Around 1647, during a trip to Holland, where he executed etchings with views of the port of Amsterdam, he met Rembrandt, and from that date we note a profound echo of the Dutchman's art in Della Bella's graphic work.
Magnificent proof, rich in tone, printed on coeval laid paper with watermark “crowned head in profile in circle” (cf. Lieure L.21), trimmed to copperplate or thin margins, in excellent condition.
Bibliografia
B. De Vesme/Massar, Stefano della Bella, p. 61, n. 69.II.
Stefano Della BELLA (Firenze 1610 - 1664)
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Stefano della Bella was one of the most interesting and ingenious artists of XVII century in Florence and can be considered as the sole real follower of Callot. He was educated in Florence at first, in the studio of Gasparo Mola and Orazio Vanni; this experience gave him a firm and careful hand when using the graver. He then went to Giovan Battista Vanni’s and, very likely, he also studied with Cantagallina and Cesare Dandini but, as Baldinucci said, he was still very young when he decided to leave painting and devoute entirely himself to engraving. His real master, then, can be considered Jacques Callot, the French engraver who lived for long time in Florence spreading his influence all around the city.
Lorenzo dè Medici became soon Stefano’s patron and invited the young artist in Rome between 1633 and 1636; in the Eternal City, the artist realized many copies from the antiquities and from Polidoro’s works. In 1633 he realized his first noteworthy work: Entrata a Roma dell’ambasciatore di Polonia Giorgio Ossolinsky.
In 1639 Stefano went to Paris where he lived, until 1650, out of a pension Lorenzo dè Medici had granted to him.
Around 1647, when travelling along the Netherlands, he met Rembrandt; from that moment the influence of the Dutch artist can be found in the entire Della Bella’s production.
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Stefano Della BELLA (Firenze 1610 - 1664)
|
Stefano della Bella was one of the most interesting and ingenious artists of XVII century in Florence and can be considered as the sole real follower of Callot. He was educated in Florence at first, in the studio of Gasparo Mola and Orazio Vanni; this experience gave him a firm and careful hand when using the graver. He then went to Giovan Battista Vanni’s and, very likely, he also studied with Cantagallina and Cesare Dandini but, as Baldinucci said, he was still very young when he decided to leave painting and devoute entirely himself to engraving. His real master, then, can be considered Jacques Callot, the French engraver who lived for long time in Florence spreading his influence all around the city.
Lorenzo dè Medici became soon Stefano’s patron and invited the young artist in Rome between 1633 and 1636; in the Eternal City, the artist realized many copies from the antiquities and from Polidoro’s works. In 1633 he realized his first noteworthy work: Entrata a Roma dell’ambasciatore di Polonia Giorgio Ossolinsky.
In 1639 Stefano went to Paris where he lived, until 1650, out of a pension Lorenzo dè Medici had granted to him.
Around 1647, when travelling along the Netherlands, he met Rembrandt; from that moment the influence of the Dutch artist can be found in the entire Della Bella’s production.
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