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Gerard EdelinckJoan of Austria / - The luminosity of the print -1707
1707
$573.18
£424.22
€480
CA$792.91
A$883.56
CHF 460.08
MX$10,663.31
NOK 5,768.23
SEK 5,450.23
DKK 3,654.68
About the Item
Gérard Edelinck (1640 Antwerp - 1707 Paris), Joan of Austria, 1707. Copperplate engraving, 51.2 cm x 29.8 cm, inscribed below the image: "Jeanne d'Autriche Grande Duchesse de Toscane. Fille de l'Empereur Ferdinand 1.er ["er" superscript] & mére de la Reine Marie de Médicis, naquit à Prague en 1547. & en 1565. elle épousa François premier, Grand Duc de Toscane, et mourut à l'age de 32 ans en 1578". Marked lower left with “Rubens pinxit” as painted by Peter Paul Rubens and lower right with “I. M. Nattier delineavit” and “G. Edelinck eques effigiem Sc.” as drawn by Jean-Marc Nattier and engraved by Gérard Edelinck. The print is the third sheet of the series ‘La Gallerie du Palais du Luxembourg’ published in 1710, which reproduces Rubens' Medici cycle.
- Strong impression with minimal creases in the title page
- The luminosity of the print -
The most renowned French engravers of the time were involved in the prestigious gallery work published in 1710. This work depicts Rubens's Medici cycle at the Palais des Luxembourg, and Gérard Edelinck was considered particularly masterful among these engravers. Created in the year of his death, the engraving illustrates how the artist depicted the materiality of the robes, capturing their shimmering effects of light and shadow. The print captivates with its almost diffuse atmosphere, in which the face's clear precision stands out particularly well.
The print exemplifies the creative power and significance of reproductive graphics. Peter Paul Rubens created the exemplary painting, and the highly sought-after court portraitist Jean-Marc Nattier made the drawing from which Edelinck engraved the print. Thus, it is ultimately a joint work by three extremely talented artists.
About the artist
Gérard Edelinck was born in Antwerp and was educated by the Jesuits. He first studied printmaking with Gaspar Huybrechts from 1652 to 1653, and then became a pupil of Cornelius Galle the Younger. In 1666, Edelinck traveled to Paris, where he worked with François de Poilly, Robert Nanteuil, and Philippe de Champaigne. Edelinck's artistic virtuosity was highly regarded, and he was appointed royal engraver by Louis XIV in 1675. He then moved into an apartment in the Royal Tapestry Manufactory. Louis XIV alone portrayed Edelinck thirteen times. Edelinck became a member of the Academy of Fine Arts in 1677 and was knighted in the Order of St. Michael in 1695. His works were coveted collector's items by the 18th century.
GERMAN VERSION
Gérard Edelinck (1640 Antwerpen - 1707 Paris), Johanna von Österreich, 1707. Kupferstich, 51,2 cm x 29,8 cm, unter der Darstellung mit der Inschrift versehen: „Jeanne d'Autriche Grande Duchesse de Toscane. Fille de l'Empereur Ferdinand 1.er ["er" hochgestellt] & mére de la Reine Marie de Médicis, naquit à Prague en 1547. & en 1565. elle épousa François premier, Grand Duc de Toscane, et mourut à l'age de 32 ans en 1578”. Unten links mit “Rubens pinxit” als von Peter Paul Rubens gemalt und unten rechts mit „I. M. Nattier delineavit“ und „G. Edelinck eques effigiem Sc.“ als von Jean-Marc Nattier gezeichnet und von Gérard Edelinck gestochen ausgewiesen. Bei der Grafik handelt es sich um das dritte Blatt der 1710 publizierte Folge ‚La Gallerie du Palais du Luxembourg‘, die den Medici-Zyklus von Rubens wiedergibt.
- Kräftiger Druck mit minimalen Knickspuren in der Titelei
- Die Leuchtkraft der Grafik -
Bei dem repräsentativen 1710 erschienenen Galeriewerk, das Rubens Medici-Zyklus des Palais des Luxembourg wiedergibt, hatten die renommiertesten französischen Kupferstecher ihrer Zeit mitgewirkt, von denen Gérard Edelinck als besonders meisterhaft galt. Der in seinem Todesjahr angefertigte Stich veranschaulicht, wie der Künstler die Stofflichkeit der Gewänder mit ihren schimmernden Licht-Schatten-Wirkungen innerhalb der Druckgraphik zur Darstellung zu bringen vermochte. Zudem besticht die Grafik durch eine beinahe diffus wirkende Atmosphäre, aus der insbesondere die klare Präzision des Gesichts hervortritt.
Das Blatt ist zugleich ein Beispiel für die Schöpferkraft und den Stellenwert der Reproduktionsgrafik. Ist das vorbildliche Gemälde von Peter Paul Rubens geschafften worden, so fertigte der spätere, äußerst gefragte Hofporträtist Jean-Marc Nattier die Zeichnung an, nach der Edelinck die Grafik gestochen hat, so dass es sich letztlich um ein Gemeinschaftswerk von drei äußerst talentierten Künstlern handelt.
zum Künstler
In Antwerpen geboren und von den Jesuiten erzogen erlernte Gérard Edelinck die Druckgraphik zunächst von 1652 bis 1653 bei Gaspar Huybrechts und wurde anschließend Schüler von Cornelius Galle dem Jüngeren. 1666 ging er nach Paris und arbeite dort mit François de Poilly, Robert Nanteuil und Philippe de Champaigne zusammen. Aufgrund seiner vielgerühmten künstlerischen Virtuosität war er so erfolgreich, dass er von Ludwig XIV. 1675 zum königlichen Kupferstecher ernannt wurde und eine Wohnung in der Königlichen Gobelin-Manufaktur bezog. Allein Ludwig XIV. porträtierte Edelinck dreizehn Mal. 1677 wurde er Mitglied der Kunstakademie und 1695 zum Ritter des Ordens des Hl. Michael geschlagen. Bereits im 18. Jahrhundert waren seine Werke begehrte Sammelobjekte.
- Creator:Gerard Edelinck (1640 - 1707, Flemish)
- Creation Year:1707
- Dimensions:Height: 20.08 in (51 cm)Width: 11.03 in (28 cm)Depth: 0.4 in (1 cm)
- Medium:
- Movement & Style:
- Period:1700-1709
- Condition:
- Gallery Location:Berlin, DE
- Reference Number:1stDibs: LU2438216369112
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