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Francesco BartolozziPutti in an allegorical love game / - The Ambivalence of Eros -1764
1764
About the Item
Francesco Bartolozzi (1728 Florence - 1815 Lisbon), Putti in an allegorical love game, around 1764. Crayon engraving on laid paper after a drawing by Guercino, 21 cm x 29 cm (plate size), 38 cm x 56.5 cm (sheet size), marked lower left “Guercino inv.” as an engraving after Guercino and signed lower right “F. Bartolozzi sculp”.
- the wide margin with corner losses, smaller tears, slightly foxed and somewhat dusty, the strong and precise depiction in good condition
- The Ambivalence of Eros -
This sheet showcases the artist's renowned skill, which resulted in his invitation to London and his appointment as "Engraver to the King." Bartolozzi combines a free-flowing, linear design with partial dotting to give the print an unprecedented graphic-painterly effect. This effect corresponds to the emerging appreciation of drawing as a direct form of artistic expression.
On the left, a putto lifts a drapery to reveal a reclining putto, whose body emerges from the shadows. This scene could have been depicted by Titian or Rubens, except here, it is the putti performing this love play imitatively. On the opposite side is a group of three putti that could also have been taken from a painting by Titian or Rubens. One aims a love arrow at the main scene while another strikes water. This creates an ironic interplay between imitation and the depiction of love play, whose ambivalence contributes to the eros of the painting.
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), Putten im allegorischen Liebesspiel, 1764. Crayon-Stich auf Bütten nach einer Zeichnung von Guercino, 21 cm x 29 cm (Plattengröße), 38 cm x 56,5 cm (Blattgröße), unten links mit „Guercino inv.“ als Stich nach Guercino ausgewiesen und unten rechts mit „F. Bartolozzi sculp“ signiert.
- der breite Rand mit Eckverlusten, kleineren Einrissen, leicht stockfleckig und etwas angestaubt, die kräftig-präzise Darstellung in gutem Zustand
- Die Ambivalenz des Eros -
Das Blatt 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.
Links hebt ein Putto eine Draperie an und enthüllt einen liegend posierenden Putto, dessen Körper aus dem Schatten heraus sichtbar wird. Eine Szene wie sie auch von Tizian oder Rubens dargestellt worden sein könnte, nur dass es hier Putten sind, die dieses Liebesspiel auf nachahmende Weise vollführen. Gegenüber steht eine Gruppe von drei Putten, die ebenfalls einem Gemälde von Tizian oder Rubens entnommen sein könnten. Einer von ihnen zielt mit einem Liebespfeil auf die Hauptszenerie, während der andere ‚Wasser schlägt‘. Ein ironisches Wechselspiel zwischen Nachahmung und Aufzeigen der Natur des Liebesspiels, das n seiner Ambivalenz zum Eros des Bildes beiträgt.
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: 14.97 in (38 cm)Width: 22.05 in (56 cm)Depth: 0.4 in (1 cm)
- Medium:
- Movement & Style:
- Period:1760-1769
- Condition:
- Gallery Location:Berlin, DE
- Reference Number:1stDibs: LU2438216392712
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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