St Barnabas Healing the Sick or The Miracle of St. Barnabas
| Reference: | S42616 |
| Author | Pierre BREBIETTE |
| Year: | 1617 ca. |
| Measures: | 237 x 335 mm |
€1,000.00
| Reference: | S42616 |
| Author | Pierre BREBIETTE |
| Year: | 1617 ca. |
| Measures: | 237 x 335 mm |
€1,000.00
Description
Etching, 1617-25 circa, lettered lower right BREBIETTE FECIT/ VERONESE INVENTOR INNATOR.
Beautiful proof, rich in tone, printed on contemporary laid paper, trimmed to copperplate or with very thin margins, small restoration to the upper right corner, otherwise in excellent condition.
Saint Barnabas: he cures a sick man by holding the gospel of Saint Matthew over the man's head.
In reverse, after the painting (c. 1566) by Paolo Caliari il Veronese, from the church of San Giorgio in Braida Verona, today in Rouen – Musée des Beaux-Arts.
In the apostolic mission he led to Cyprus with his disciple Mark, Saint Barnabas became known for healing the sick by the laying on of the Book of the Gospels, according to the Golden Legend. The impression of human warmth created by the ring of helpers around the central figure of the saint, the modernity of the off-centre tempietto which creates a revolving sensation around the faces and the colour of the turbans all make for a clearly legible tableau. Veronese brought a solar quality to his work with vibrant colours even in the shadows. The scene was painted for the little church of San Giorgio, attached to the Barnabite hospital in the city of Verona. The artist then returned to his native city, having produced large-scale decorative works in Venice along with Titian and Tintoretto for the chamber of the Council of Ten at the Doge’s Palace.
The work would appear to relate to Brebiette's Italian period, 1617-25.
Relatively little is known about Pierre Brebiette's early life and artistic formation. By January 1617 he was living in Rome, where he remained until 1625. In Italy Brebiette was closely associated with the painter-etcher Claude Vignon and the print publisher and paintings dealer Francois Langlois, called Ciartres; they remained friends for life. Although one painting has been identified, Brebiette was primarily a graphic artist, and a number of fine drawings and nearly 300 prints by him are known. His etched oeuvre includes genre, mythological, and religious subjects. Brebiette was likely to have been introduced to etching in Rome; his work reflects the style and techniques of Italian etchers there: Antonio Tempesta (1555-1630), Orazio Borgianni (about 1578-1616), and Ottavio Leoni (1578-1630). In Italy some of Brebiette's prints reproduced paintings by such Renaissance masters as Andrea del Sarto and Paolo Veronese, and more recent Roman painters including Cesare d'Arpino.
Bibliografia
P. Ticozzi, Immagini dal Veronese, Roma 1979, n. 20; Le Blanc, I, p. 513, n. 13; Inventaire du Fonds Français: Bibliothèque Nationale, Département des Estampes (46.II).
Pierre BREBIETTE (Nantes 1598 – Roma 1650 circa)
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Relatively little is known about Pierre Brebiette's early life and artistic formation. His father was a clerk of the court in the jurisdiction of Varennes near Brie-Comte-Robert, and the artist owned property in Coulommiers. He could have learned from observing the ongoing decoration of the palace of Fontainebleau. By January 1617 he was living in Rome, where he remained until 1625. In Italy Brebiette was closely associated with the painter-etcher Claude Vignon and the print publisher and paintings dealer Francois Langlois, called Ciartres; they remained friends for life. He was married in Paris in January 1626 to Louise, the daughter of the poet Louis de Neufgermain, whose patron was Gaston d'Orleans, younger brother of Louis XIII. Vignon witnessed the marriage, became a godparent to their son in 1631, and helped to value Brebiette's artistic estate at the time of his death in 1650. Although one painting has been identified, Brebiette was primarily a graphic artist, and a number of fine drawings and nearly 300 prints by him are known. His etched oeuvre includes genre, mythological, and religious subjects. Brebiette was likely to have been introduced to etching in Rome; his work reflects the style and techniques of Italian etchers there: Antonio Tempesta (1555-1630), Orazio Borgianni (about 1578-1616), and Ottavio Leoni (1578-1630). In Italy some of Brebiette's prints reproduced paintings by such Renaissance masters as Andrea del Sarto and Paolo Veronese, and more recent Roman painters including Cesare d'Arpino. Others developed themes derived from ancient pagan subjects. By 1624 he had mastered the medium, and after his return to Paris he was in demand as an etcher, receiving commissions for religious subjects and book illustrations. Few of Brebiette's prints bear dates; they range from 1624 to 1640. The majority were designed and executed in a spirited personal style that combines mannerist grace with Northern realism an whismsical humor. Since he was one of the early seventeenth century's most original printmakers, it is surprising that no catalogue raisonné of Brebiette's has been published.
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Pierre BREBIETTE (Nantes 1598 – Roma 1650 circa)
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Relatively little is known about Pierre Brebiette's early life and artistic formation. His father was a clerk of the court in the jurisdiction of Varennes near Brie-Comte-Robert, and the artist owned property in Coulommiers. He could have learned from observing the ongoing decoration of the palace of Fontainebleau. By January 1617 he was living in Rome, where he remained until 1625. In Italy Brebiette was closely associated with the painter-etcher Claude Vignon and the print publisher and paintings dealer Francois Langlois, called Ciartres; they remained friends for life. He was married in Paris in January 1626 to Louise, the daughter of the poet Louis de Neufgermain, whose patron was Gaston d'Orleans, younger brother of Louis XIII. Vignon witnessed the marriage, became a godparent to their son in 1631, and helped to value Brebiette's artistic estate at the time of his death in 1650. Although one painting has been identified, Brebiette was primarily a graphic artist, and a number of fine drawings and nearly 300 prints by him are known. His etched oeuvre includes genre, mythological, and religious subjects. Brebiette was likely to have been introduced to etching in Rome; his work reflects the style and techniques of Italian etchers there: Antonio Tempesta (1555-1630), Orazio Borgianni (about 1578-1616), and Ottavio Leoni (1578-1630). In Italy some of Brebiette's prints reproduced paintings by such Renaissance masters as Andrea del Sarto and Paolo Veronese, and more recent Roman painters including Cesare d'Arpino. Others developed themes derived from ancient pagan subjects. By 1624 he had mastered the medium, and after his return to Paris he was in demand as an etcher, receiving commissions for religious subjects and book illustrations. Few of Brebiette's prints bear dates; they range from 1624 to 1640. The majority were designed and executed in a spirited personal style that combines mannerist grace with Northern realism an whismsical humor. Since he was one of the early seventeenth century's most original printmakers, it is surprising that no catalogue raisonné of Brebiette's has been published.
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