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Francesco BartolozziFour Young Women and the Boy Cupid / - Mysterious Virtuosity -1764
1764
About the Item
Francesco Bartolozzi (1728 Florence - 1815 Lisbon), Mythological Scene with Four Young Women and the Boy Cupid, 1764. Crayon engraving on laid paper after a drawing by Guercino, 22 cm x 28.5 cm (plate size), 39.5 cm x 55.5 cm (sheet size), inscribed lower left “Guercino Invent.” as an engraving after Guercino and signed lower right “F. Bartolozzi scolpi” and dated and inscribed “Londra 1764”.
- The wide margin somewhat bumped and with small tears, overall somewhat dusty, otherwise a strong and precise impression in good condition
- Mysterious Virtuosity -
Created in the first year of Bartolozzi's life in London, the sheet illustrates the artist's celebrated virtuosity. This virtuosity led to Bartolozzi's call to London and his appointment as "Engraver to the King." Here, Bartolozzi combines a free-flowing linear design with partial stippling, giving the print an unprecedented graphic-painterly effect. This effect corresponds to the emerging appreciation of drawing as a direct form of artistic expression at that time.
As impressive as the scene is, it remains enigmatic. The four young women are clearly discussing matters of love with the Cupid boy. However, the undefined nature of the scene allows the viewer to complete the picture in their imagination.
About the artist
The son of goldsmith Gaetano Bartolozzi, young Francesco received his first artistic training from his father. He then attended the Academy of Fine Arts in Florence, studied antiquities in Rome, and joined Joseph Wagner's studio in Venice in 1745. Bartolozzi produced numerous engravings based on drawings by Venetian artists for Wagner's art publishing house. These engravings were popular due to their high quality. After engraving drawings by Guercino for George III's librarian, Richard Dalton, Dalton invited Bartolozzi to London in 1764. Bartolozzi lived there for the rest of his life. Bartolozzi was admitted to the Society of Artists, appointed engraver to the king, and elected to the newly founded Royal Academy of Art in 1769. While in London, Bartolozzi acquired the newly discovered crayon technique, which made it possible to translate chalk and charcoal drawings into prints by dotting. This technique became known in England as the "red chalk manner." Bartolozzi further developed this technique by using stippling to create surface effects instead of line-oriented designs, known as "stippled work." He was able to translate painterly and graphic effects into prints with great virtuosity, making Bartolozzi the most popular and sought-after reproduction engraver of his time. Angelika Kauffmann, for example, who also worked in London, had her works engraved by Bartolozzi. In 1802, at the age of 75, Bartolozzi accepted a position as director of the Academy of Fine Arts in Lisbon, where he worked until his death.
GERMAN VERSION
Francesco Bartolozzi (1728 Florenz - 1815 Lissabon), Mythologische Szene mit vier jungen Frauen und dem Amorknaben, 1764. Crayon-Stich auf Bütten nach einer Zeichnung von Guercino, 22 cm x 28,5 cm (Plattengröße), 39,5 cm x 55,5 cm (Blattgröße), unten links mit „Guercino Invent.“ als Stich nach Guercino ausgewiesen und unten rechts mit „F. Bartolozzi scolpi“ signiert und „Londra 1764“ datiert und ortsbezeichnet.
- der breite Rand etwas bestoßen und mit kleinen Einrissen, insgesamt etwas angestaubt, ansonsten kräftig-präziser Druck in gutem Zustand
- Geheimnisvolle Virtuosität -
Das Blatt ist im ersten Jahr von Bartolozzis Lebensabschnitt in London entstanden und veranschaulicht die gefeierte Virtuosität des Künstlers, die zum Ruf nach London und seiner Ernennung zum „Engraver of the King“ geführt hat. Bartolozzi verbindet hier eine frei-flüssige lineare Gestaltung mit einer partiellen Punktierung, so dass die Druckgrafik eine bisher nicht gesehene zeichnerisch-malerische Wirkung erhält, was der damals einsetzenden Schätzung der Zeichnung als unmittelbarem künstlerischen Ausdruck entspricht.
So virtuos die Szene dargestellt ist, so rätselhaft bleibt sie. Die vier jungen Frauen befinden sich offensichtlichen in einem auf den Amorknaben bezogenen Dialog über Liebesdinge. Indem die Szenerie drüber hinaus aber unbestimmt bleibt, wird sie zum Imaginationsraum des Betrachters, der das Bild auf diese Weise vollendet.
zum Künstler
Als Sohn des Goldschmieds Gaetano Bartolozzi erhielt der junge Francesco bei seinem Vater eine erste künstlerische Ausbildung. Anschließend besuchte er die Florentiner Kunstakademie, hielt sich zum Antikenstudium in Rom auf und ging dann nach Venedig, wo er 1745 in das Atelier Joseph Wagners eintrat. Für dessen Kunstverlag fertigte Bartolozzi zahlreiche Stiche nach Zeichnungen venezianischer Künstler an, die sich aufgrund ihrer kongenialen Umsetzung großer Beliebtheit erfreuten. Nachdem er für den Bibliothekar George III., Richard Dalton, Zeichnungen von Guercino gestochen hatte, lud ihn dieser 1764 nach London ein, wo Bartolozzi fortan ansässig war. Er wurde in die Society of Artists aufgenommen, zum Kupferstecher des Königs ernannt und 1769 in die neugegründete Königliche Kunstakademie gewählt. In London eignete er sich die neuerfundene Punktier- oder Crayon-Manier an, die es erlaubt, durch Punktierungen Kreide- und Kohlezeichnungen in die Druckgrafik zu übersetzen, weshalb sie in England auch unter dem Namen ‚Red Chalk Manner‘ bekannt geworden ist. Bartolozzi entwickelte diese Technik weiter, indem er statt einer linienorientierten Gestaltung durch Punktierungen Flächenwirkungen erzeugte, was als ‚Stippled Work‘ bezeichnet wurde. Auf diese Weise vermochte er sowohl malerische wie zeichnerische Wirkungen druckgrafisch umzusetzen, was er mit höchster Virtuosität beherrschte, so dass Bartolozzi zum beliebtesten und gefragtesten Reproduktionsstecher seiner Zeit wurde. So ließ beispielsweise Angelika Kauffmann, die ebenfalls in London tätig war, ihre Werke von Bartolozzi stechen. Im Alter von 75 Jahren folgte er, 1802, dem Ruf nach Lissabon, wo Bartolozzi bis zu seinem Tode als Direktor der Kunstakademie wirkte.
- Creator:Francesco Bartolozzi (1727-1815, Italian)
- Creation Year:1764
- Dimensions:Height: 15.36 in (39 cm)Width: 21.66 in (55 cm)Depth: 0.4 in (1 cm)
- Medium:
- Movement & Style:
- Period:1760-1769
- Condition:
- Gallery Location:Berlin, DE
- Reference Number:1stDibs: LU2438216392432
Francesco Bartolozzi
The son of goldsmith Gaetano Bartolozzi, young Francesco received his first artistic training from his father. He then attended the Academy of Fine Arts in Florence, studied antiquities in Rome, and joined Joseph Wagner's studio in Venice in 1745. Bartolozzi produced numerous engravings based on drawings by Venetian artists for Wagner's art publishing house. These engravings were popular due to their high quality. After engraving drawings by Guercino for George III's librarian, Richard Dalton, Dalton invited Bartolozzi to London in 1764. Bartolozzi lived there for the rest of his life. Bartolozzi was admitted to the Society of Artists, appointed engraver to the king, and elected to the newly founded Royal Academy of Art in 1769. While in London, Bartolozzi acquired the newly discovered crayon technique, which made it possible to translate chalk and charcoal drawings into prints by dotting. This technique became known in England as the "red chalk manner." Bartolozzi further developed this technique by using stippling to create surface effects instead of line-oriented designs, known as "stippled work." He was able to translate painterly and graphic effects into prints with great virtuosity, making Bartolozzi the most popular and sought-after reproduction engraver of his time. Angelika Kauffmann, for example, who also worked in London, had her works engraved by Bartolozzi. In 1802, at the age of 75, Bartolozzi accepted a position as director of the Academy of Fine Arts in Lisbon, where he worked until his death.
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