- New
Rhetorica
| Reference: | S47052 |
| Author | Cornelis CORT |
| Year: | 1565 |
| Measures: | 282 x 227 mm |
€1,100.00
- New
| Reference: | S47052 |
| Author | Cornelis CORT |
| Year: | 1565 |
| Measures: | 282 x 227 mm |
€1,100.00
Description
Rhetoric, a seated woman, holding a caduceus, leans over and engages with a seated man writing on a tablet; an elderly man with a long beard places his hands on the shoulder of the younger scholar; two birds, including a parrot, sit on a pile of books labelled "CICERO" etc on the ground.
Engraving, 1565, after Frans Floris.
Lettered upper right "FF". Below right "4". Two lines in the margin "RHETORICÆ GRATOS ... ADYCIT".
This is one from a series of seven plates after Frans Floris, engraved by Cornelis Cort (New Hollstein 197-203). After a lost series of paintings by Floris for the villa of merchant and art-collector Nicolaas Jongelinck, in Markgravelei, just outside of Antwerp; after which they were exported to Genoa. The preparatory drawings were possibly made by Floris's pupil Simon Jansz Kies.
“Like The Labours of Hercules, The Seven Liberal Arts relates to a series of paintings Frans Floris produced in the mid-1550s for the new suburban home of the Antwerp collector Nicolas Jonghelinck. Following the dictates of Martianus Capella's encyclopaedic work De nuptiis Philologiae et Mercurii (On the Marriage of Philology and Mercury), Floris depicted cach liberal art as a female personification instructing figures around her in the practice of the art she embodies. The marginal inscriptions, probably composed by Dominicus Lampsonius, emphasize how each Liberal Art contributes to the advancement of knowledge. The paintings of The Seven Liberal Arts, along with the painting Adam and Eve Lamenting the Death of Abel , were exported to Genoa early in the seventeenth century. In those paintings, as in the prints, books were arranged to show the names of famous philosophers or theorists according to their order in Conrad Gesner's great Bibliotheca Universalis of 1545. It is likely that the room in which these pictures were installed was Jonghelinck's library, real or imagined, with these tomes suggestive of the works that a merchant with humanistic aspirations might hope to possess” (cf. Edward Wouk, in J. van Grieken - G. Luijten - J. van der Stock, "Hieronymus Cock: The Renaissance in Print", exh.cat. Royal Library of Belgium in Brussels and Fondation Custodia in Paris, New Haven and London, 2013, cat.no.44).
Engraving, printed on contemporary laid paper, trimmed on the platemark, in good condition.
Bibliografia
Edward Wouk, in J. van Grieken - G. Luijten - J. van der Stock, "Hieronymus Cock: The Renaissance in Print", n. 44; The New Hollstein: Dutch and Flemish etchings, engravings and woodcuts 1450-1700, n. 133.I; Bierens de Haan, L'oeuvre gravé de Cornelis Cort, graveur hollandais 1533-1578, n. 227; Van de Velde, Frans Floris (1519/20-1570), Leven en Werken, 120; Riggs, Hieronymus Cock, Printmaker and Publisher, n. 81; Wouk, Frans Floris (1519/20-1570): Imagining a Northern Renaissance, n. 133.
Cornelis CORT (Hoorn, nr Alkmaar, 1533 - Roma, prima del 22 Aprile 1578)
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North Netherlandish engraver and draughtsman, active in Flanders and Italy. His first documented works are a series of engravings issued by the Antwerp publisher Hieronymous Cock, beginning c. 1553. Cort may have been an apprentice within Cock’s establishment, as none of these prints was inscribed with his name until after the plates had passed out of Cock’s hands. A letter of 1567 to Titian from the Netherlandish writer and painter Domenicus Lampsonius (1532–99) describes Cock as Cort’s master. By 1560 Cort had developed a bold and strongly modelled sculptural style of engraving, influenced in part by the Italian Giorgio Ghisi, who worked for Cock between 1550 and 1555. Cort was particularly successful in reproducing the Italianate figure compositions of Frans Floris, after whom he engraved more than 50 prints, notably the Liberal Arts (seven prints; 1565) and the Labours of Hercules (ten prints; 1565). He also reproduced compositions by Maarten van Heemskerck, Andrea del Sarto, Rogier van der Weyden and others while working for Cock.
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Cornelis CORT (Hoorn, nr Alkmaar, 1533 - Roma, prima del 22 Aprile 1578)
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North Netherlandish engraver and draughtsman, active in Flanders and Italy. His first documented works are a series of engravings issued by the Antwerp publisher Hieronymous Cock, beginning c. 1553. Cort may have been an apprentice within Cock’s establishment, as none of these prints was inscribed with his name until after the plates had passed out of Cock’s hands. A letter of 1567 to Titian from the Netherlandish writer and painter Domenicus Lampsonius (1532–99) describes Cock as Cort’s master. By 1560 Cort had developed a bold and strongly modelled sculptural style of engraving, influenced in part by the Italian Giorgio Ghisi, who worked for Cock between 1550 and 1555. Cort was particularly successful in reproducing the Italianate figure compositions of Frans Floris, after whom he engraved more than 50 prints, notably the Liberal Arts (seven prints; 1565) and the Labours of Hercules (ten prints; 1565). He also reproduced compositions by Maarten van Heemskerck, Andrea del Sarto, Rogier van der Weyden and others while working for Cock.
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