Adoration of the Magi
| Reference: | S36079.5 |
| Author | Hendrick GOLTZIUS |
| Year: | 1594 |
| Measures: | 350 x 460 mm |
€2,400.00
| Reference: | S36079.5 |
| Author | Hendrick GOLTZIUS |
| Year: | 1594 |
| Measures: | 350 x 460 mm |
€2,400.00
Description
Engraving, 1593, signed with monogram at upper left in the image HG. Third state, of five, with the numberal 5 added on the lower left
Magnificient example, printed on contemporary laid paper, with “Fleur-de-lis and Arms of Strasbourg” (similar to Briquet 22244), thin margins, some paper folds generally in very good condition.
From the series “Life of Virgin”
By following the manner of Lucas van Leyden for this scene from the life of the Virgin, Goltzius presents the fourth example of an engraving in the style of a famous artist. In this instance, the similarity to the model is very close. The principal change is the choice of a vertical format instead of van Leyden's horizontal one. Therefore, the narrative quality is less pronounced. The main pair - the Virgin and the Infant Christ- is almost identical in the two renderings, as is the countenance of the Black King. Hirschmann observed that Goltzius took the face of the second king from van Leyden's version and used it for his own kneeling Magus. He is critical of the narrow-waisted figures, not found in Lucas van Leyden's works. Moreover, Goltzius' customarily exquisite burin work, in this instance, seems to gloss over the somewhat dry and silvery quality that distinguishes Lucas engravings from those of Dürer. Hirschmann attributed these "shortcomings" to a hurried execution of this sheet, perhaps in order to complete this series in time for the Frankfurt Fair For this reason, he considered this subject the last of the series in order of execution. But because the verses are once more, and for the last time in the series, by F. Estius, it seems more likely that this sheet was produced before the following two, which bear verses by Shonaeus.
Collection mark of Albert Van Look (L.3752) on verso.
Literature
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Bartsch, 19; Strauss, n. 320 p. 582
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Hendrick GOLTZIUS (Mulbrecht 1559 - Haarlem 1617)
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Dutch painter and engraver, was born at Millebrecht, in the duchy of Julich.
After studying painting on glass for some years under his father, he was taught the use of the burin by Dirk Volkertszoon Coornlert, a Dutch engraver of mediocre attainment, whom he soon surpassed, but who retained his services for his own advantage. He was also employed by Philip Galle to engrave a set of prints of the history of Lucretia.
At the age of twenty-one he married a widow somewhat advanced in years, whose money enabled him to establish at Haarlem an independent business; however his unpleasant relations with her so affected his health that he found it advisable in 1590 to make a tour through Germany to Italy, where he acquired an intense admiration for the works of Michelangelo, which led him to surpass that master in the grotesqueness and extravagance of his designs. He returned to Haarlem considerably improved in health, and laboured there at his art till his death.
Goltzius ought not to be judged chiefly by the works he valued most, his eccentric imitations of Michelangelo. His portraits, though mostly miniatures, are master-pieces of their kind, both on account of their exquisite finish, and as fine studies of individual character. Of his larger heads, the life-size portrait of himself is probably the most striking example. His master-pieces, so called from their being attempts to imitate the style of the old masters, have perhaps been overpraised.
In his command of the burin Goltzius is not surpassed even by Dürr; but his technical skill is often unequally aided by higher artistic qualities. Even, however, his eccentricities and extravagances are greatly counterbalanced by the beauty and freedom of his execution. He began painting at the age of forty-two, but none of his works in this branch of art--some of which are in the imperial collection at Vienna--display any special excellences. He also executed a few pieces in chiaroscuro.
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Literature
|
Bartsch, 19; Strauss, n. 320 p. 582
|
Hendrick GOLTZIUS (Mulbrecht 1559 - Haarlem 1617)
|
Dutch painter and engraver, was born at Millebrecht, in the duchy of Julich.
After studying painting on glass for some years under his father, he was taught the use of the burin by Dirk Volkertszoon Coornlert, a Dutch engraver of mediocre attainment, whom he soon surpassed, but who retained his services for his own advantage. He was also employed by Philip Galle to engrave a set of prints of the history of Lucretia.
At the age of twenty-one he married a widow somewhat advanced in years, whose money enabled him to establish at Haarlem an independent business; however his unpleasant relations with her so affected his health that he found it advisable in 1590 to make a tour through Germany to Italy, where he acquired an intense admiration for the works of Michelangelo, which led him to surpass that master in the grotesqueness and extravagance of his designs. He returned to Haarlem considerably improved in health, and laboured there at his art till his death.
Goltzius ought not to be judged chiefly by the works he valued most, his eccentric imitations of Michelangelo. His portraits, though mostly miniatures, are master-pieces of their kind, both on account of their exquisite finish, and as fine studies of individual character. Of his larger heads, the life-size portrait of himself is probably the most striking example. His master-pieces, so called from their being attempts to imitate the style of the old masters, have perhaps been overpraised.
In his command of the burin Goltzius is not surpassed even by Dürr; but his technical skill is often unequally aided by higher artistic qualities. Even, however, his eccentricities and extravagances are greatly counterbalanced by the beauty and freedom of his execution. He began painting at the age of forty-two, but none of his works in this branch of art--some of which are in the imperial collection at Vienna--display any special excellences. He also executed a few pieces in chiaroscuro.
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