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Jacques CallotLes deux tures coifffes d’un turban avec une aigrette (The turban with crest)1618
1618
About the Item
Les deux tures coifffes d’un turban avec une aigrette
(The two headdresses of a turban with a crest)
Etching, 1618
From: Varie Figure (16 plates)
Condition: Trimmed withing the plate mark
Very minor thinning verso
Very rich impression with great contrasts
Image/Sheet size: 3 7/16 x 3 7/16 inches
Reference: Lieure 213 ii/III, before the number 8
Provenance: Robert Hartshorne, Lugt 2215b verso
Note: Hartshorne was cited by Lugt for his Callot prints, sold Barke Bernet, Jan. 23, 1946
Jacques Callot (born March–August 1592, Nancy, France—died March 24, 1635, Nancy) was a French printmaker who was one of the first great artists to practice the graphic arts exclusively. His innovative series of prints documenting the horrors of war greatly influenced the socially conscious artists of the 19th and 20th centuries.
Callot’s career was divided into an Italian period (c. 1609–21) and a Lorraine (France) period (from 1621 until his death). He learned the technique of engraving under Philippe Thomassin in Rome. About 1612 he went to Florence. At that time Medici patronage expended itself almost exclusively in feste, quasi-dramatic pageants, sometimes dealing in allegorical subjects, and Callot was employed to make pictorial records of these mannered, sophisticated entertainments. He succeeded in evolving a naturalistic style while preserving the artificiality of the occasion, organizing a composition as if it were a stage setting and reducing the figures to a tiny scale, each one indicated by the fewest possible strokes. This required a very fine etching technique. His breadth of observation, his lively figure style, and his skill in assembling a large, jostling crowd secured for his etchings a lasting popular influence all over Europe.
Callot also had a genius for caricature and the grotesque. His series of plates of single or dual figures—for example, the Balli di Sfessania (“Dance of Sfessania”), the Caprices of Various Figures, and the Hunchbacks—are witty and picturesque and show a rare eye for factual detail.
With a few exceptions, the subject matter of the etchings of the Lorraine period is less frivolous, and Callot was hardly employed at all by the court at Nancy. He illustrated sacred books, made a series of plates of the Apostles, and visited Paris to etch animated maps of the sieges of La Rochelle and the Île de Ré. In his last great series of etchings, the “small” (1632) and the “large” (1633) The Miseries and Misfortunes of War, he brought his documentary genius to bear on the atrocities of the Thirty Years’ War. Callot is also well known for his landscape drawings in line and wash and for his quick figure studies in chalk. Courtesy Britannica
- Creator:Jacques Callot (1592 - 1635, French)
- Creation Year:1618
- Dimensions:Height: 3.44 in (8.74 cm)Width: 3.44 in (8.74 cm)
- Medium:
- Movement & Style:
- Period:1610-1619
- Condition:
- Gallery Location:Fairlawn, OH
- Reference Number:Seller: FA112731stDibs: LU14015513282
Jacques Callot
Jacques Callot, at the age of 12 years old, he runs away in Italy with gypsies. Callot returned for the third time to Italy together with an embassy of Duke Henry II to the Holy See. In 1611, Callot entered the workshop of Tempesta, a famous Italian engraver, for three years. In 1614 Callot left Rome for Florence in the service of Cosimo II de Medici. Callot produced drawings and etchings that drew influence from Flemish art and Mannerist works in Roman churches. Callot’s career began in Florence in 1612 when he started work in the Medici court, where he was employed to make pictorial records of entertainments such as fairs and festivals and where he also drew and etched courtiers, beggars and other characters, excelling particularly at caricatures. Returning to his native France in the latter end of his career, Callot’s work became markedly soberer as he documented the horrors of the 30 years of war in his Miseries of War series, which would continue to influence the artistic representation of conflict social injustice into the 19th and 20th Centuries.
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