Soldier, Standing, Looking at the Ground
| Reference: | S21440.9 |
| Author | Joachim von SANDRART |
| Year: | 1680 ca. |
| Measures: | 95 x 145 mm |
€80.00
| Reference: | S21440.9 |
| Author | Joachim von SANDRART |
| Year: | 1680 ca. |
| Measures: | 95 x 145 mm |
€80.00
Description
Etching, ca. 1675/80, unsigned. Copy of Salvator Rosa's print from the Capricci with soldiers series, called the Figurine.
The series of the so-called Figurine of Salvator Rosa had a great success, documented by the large number of imitations that had throughout Europe. The first edition of this collection was made by Rosa in 62 etching plates engraved between 1656 and 1657. At least eight different copies of the same edition were made between the end of the 17th and the first half of the 18th century.
This set is part of the monumental Academia Todesca della Architectura, Scultura & Pittura: oder Teutsche Academie der Edlen Bau, Bild-und Mahlerey-Künste (Deutsche Academy of Architecture - Sculpture – Painting).
The first edition, in German, was published by Joachim von Sandrart in Nuremberg, in three volumes respectively in 1675, 1679 and 1680.
For the plates Sandrart used his students as and many others artist as Karl Gustav von Amling (1650-1703); Philip Kilian (1628-1693); Richard Collin (1627-97); Georg Andreas Wolfgang (1631-1716); Johann Georg Waldreich (d.1680); Melchior Küsel (1626-1683); Franck, Johann (fl.1659-1690); George Christoph Eimmart (1638-1705); Susanna Maria von Sandrart (1658-1716); Bartholomäus Kilian (1630-1696).
The work is full of illustrations of ancient and modern Roman buildings, sculpture, the theory of painting, biographies of artists, including German and contemporary (ie seventeenth-century) artists, and antiquities.
Joachim von Sandrart was a painter of some note but it is for his Teutsche Academie that he is chiefly remembered. His compendious treatise includes sections on ancient sculpture and architecture, perspective, the theory of painting, artists’ biographies, a translation of Ovid’s Metamorphoses and so on. The second part of Book I purports to give a history of art from its earliest origins, and opens with an engraving of two scenes of legendary accounts of the discovery of drawing.
The work is dedicated to the world-renowned German nation and to champions and lovers of art ('Der Welt-berühmten Teutschen Nation ... Kunst-Helden und Kunstliebenden').
Beautiful proof, printed on contemporary laid paper, with margins, in perfect condition.
Bibliografia
Cfr. Bartsch, Le Peintre graveur (XX.283.51); Wallace p. 330, 133; National Gallery (Washington), Mark J. Millard, III (1998), no. 111; F.W. H. Hollstein, German engravings ... ca. 1400-1700 (1954-), 38-41; Anna Schreurs, Unter Minerva schutz: bildung durch kunst in Joachim von Sandrarts 'Teutscher Academie' (2012).
Joachim von SANDRART (Francoforte 1606 - Norimberga 1688)
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German painter and treatises. Traveled extensively and was the most important German artist of the time but is remembered today almost exclusively for the "Teutsche Academie der Edlen Bau-Bild-und Mahlerey Künste" (German Academy of the noble arts of architecture, sculpture and painting) , published in Nuremberg in 1675-79 and followed by Latin edition in 1683. This treaty, organized into three main sections, is a source of great importance. The first part is an introduction to the art of architecture, painting and sculpture, mainly derived from earlier sources like Vasari and Van Mander. The second part, which contains biographies of artists, uses the same way as material from earlier sources, but also contains new material, especially on German artists and contemporary artists that the author knew personally (including Poussin and Lorrain). The third part contains information on art collections and a survey 'iconography, and finally there is also a chapter on the art of the Far East. Sandrart was the first director (1662) Academy of Nuremberg (the first in Germany).
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Joachim von SANDRART (Francoforte 1606 - Norimberga 1688)
|
German painter and treatises. Traveled extensively and was the most important German artist of the time but is remembered today almost exclusively for the "Teutsche Academie der Edlen Bau-Bild-und Mahlerey Künste" (German Academy of the noble arts of architecture, sculpture and painting) , published in Nuremberg in 1675-79 and followed by Latin edition in 1683. This treaty, organized into three main sections, is a source of great importance. The first part is an introduction to the art of architecture, painting and sculpture, mainly derived from earlier sources like Vasari and Van Mander. The second part, which contains biographies of artists, uses the same way as material from earlier sources, but also contains new material, especially on German artists and contemporary artists that the author knew personally (including Poussin and Lorrain). The third part contains information on art collections and a survey 'iconography, and finally there is also a chapter on the art of the Far East. Sandrart was the first director (1662) Academy of Nuremberg (the first in Germany).
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