Michelangelo

Michelangelo — marelibri

Niccolò Beatrizet detto Beatricetto Att.to (Lorena 1515 ca. - Roma 1577)MareMagnum

Titius gigas vulture diversisq penis laceratus

Bulino misure: mm 282 x 375, foglio: mm 390 x 530 Incisore francese attivo soprattutto in Italia come incisore di traduzione. Si trasferì a Roma a partire dal 1540 e vi lavorò fino al 1562. Nelle sue prime opere è ben visibile l'influenza di Agostino Veneziano e successivamente di Giorgio Ghisi. Cercò di migliorare la tecnica incisoria mediante un taglio più largo ma non superò mai i suoi maestri. In questa stampa l'artista riprende un disegno di Michelangelo oggi a Londra, Windsor Castle, Royal Library. Tra il 1532 e il 1533 Michelangelo creò una serie di disegni mitologici, di altissima qualità, per il giovane nobile Tommaso de Cavalieri come segno della loro profonda amicizia. Questi disegni a gessetto acquisirono grande fama e subito dopo la loro esecuzione furono molto ambiti dai collezionisti, perciò copiati da diversi incisori. La critica ha associato questo soggetto al Ratto di Ganimede: una sorta di dittico raffigurante le due facce dell’amore. Da un lato l’elevazione dell’anima, naturalmente rappresentata da Ganimede rapito, dall’altro l’eterno tormento, rappresentato da Tizio il cui fegato è incessantemente divorato. Si è inoltre ritenuto che dietro ai due disegni ci possa essere un riferimento autobiografico. Il paesaggio è caratterizzato sullo sfondo da Templi in rovina mentre in prossimità della scena una piccola cascata e l'acqua di un torrente circondano la roccia. Il tratto netto e sottile crea un'atmosfera grigio-argentea. In basso a sinistra "MICH.A.B./INVENT" e a destra l'excudit di Salamanca, al centro oltre l'immagine inciso il titolo. Esemplare nel I/IV stato, prima della comparsa dell'indirizzo di De Rossi e della data "1649" sotto la parola "LACERATUS". Impressione eccellente su carta vergellata con filigrana "losanga entro cerchio sormontato da stella a sei punte" (simile a Woodward, 288). Lievi tracce d'uso e minimi difetti. Un altro esemplare è conservato presso la Raccolta delle Stampe Achille Bertarelli Bibliografia: Bartsch XV.259.39; Alessia Alberti, Alessandro Rovetta and Claudio Salsi (eds.), 'D'après Michelangelo: La fortuna dei disegni per gli amici nelle arti del Cinquecento', Venice, Marsilio, 2015, vol. 2, p. 131, no. 228 catalogo della mostra tenutasi a Milano presso il Castello Sforzesco, 30 settembre 2015-10 gennaio 2016.

Il Bulino Antiche Stampe s.r.l. · Itália€ 2.000,00

MICHELANGELO Ghisi, Giorgio (1520-1582), after Marcello Venusti (ca 1512-1579)Biblio.com

Portrait of Michelangelo Buonarroti

1564ref. 4839No place: no printer no date after 1564. SOLE STATE. Hardcover. Fine. Watermark unidentified partly obscured by the image. A good impression trimmed just within the image "Georgius Mantovanus Fecit" lightly written in ink next to Ghisi's monogram. Verso soiled early crease visible on verso only. With stippling still visible in the face but no visible ruling in the inscription. Early impressions are rich with sharp contrasts much stippling on the face and ruled guidelines for the letters of the inscription below. In late impressions the stippling has disappeared and the ruled lines are no longer visible. While partly obscured the watermark does not correspond to any of the three described and illustrated by Boorsch et al. p. 139. In the tablet beneath the portrait: "MICHAEL ANGELVS BONAROTA/ TVSCORVM FLOS DELIBATVS/ DVARVM ARTIVM PVLCHERRIMARVM/ HVMANAE VITAE VICARIARVM/PICTVRAE STATVARIAE QVE/ SVO PENITVS SAECVLO EXTINCTARVM / ALTER INVENTOR FACIEBAT" Trans. "Michelangelo Buonarroti the picked flower of the Tuscans in the two most beautiful imitative arts of human life painting and sculpture which perished altogether with his age. Another artist made it." Below this is Ghisi's monogram Georgius.Mantovanus.Fecit. "Only a few actual portraits were made of the great sculptor painter and architect Michelangelo 1475-1564. Ghisi's engraving is based on Marcello Venusti's version of a portrait painted by Jacopino del Conte. Both the original painting now in Casa Buonarroti Florence and Venusti's version of it Capitoline Museum Rome were made about 1545. "Ghisi's print shows Michelangelo at about seventy when the paintings of the Sistine Ceiling were more than thirty years behind him. He had recently finished The Last Judgment and he had accepted at the insistence of Pope Paul III the post of chief architect of St. Peter's. How Ghisi saw Venusti's portrait or a drawing after it is unknown but as Venusti had strong ties with Mantua and as Ghisi had probably used a drawing by Venusti for his engraving of The Last Judgment we can assume that there was an avenue of communication between the two artists. The ornamental frame in the print may well reproduce the one that held the painting. "Because the Rossi in the seventeenth century and then later the Calcografia Nazionale issued impressions from this plate with impressions from The Last Judgment d' Arco and subsequent Italian writers up to Massari have stated that the portrait is the frontispiece for The Last Judgment. Furthermore Pittaluga Rotili and Perina say that both the portrait and The Last Judgment were made in 1556. "The Last Judgment however is certainly earlier and the inscription on the plate of the Portrait seems to indicate that Michelangelo was dead when the engraving was made. His death occurred on February 18 1564. Further the style of this engraving supports the hypothesis that it was made in the mid-156os; certainly Ghisi's technique and style here are far more developed than in The Last Judgment. Finally the watermarks show that the paper on which the earliest impressions were printed was made in the north. In fact early impressions have the same watermarks as are found on early impressions of the engravings based on the ceiling paintings by Primaticcio. Like the plates for those engravings the plate for the Portrait of Michelangelo traveled to Italy and later impressions were printed on Italian paper. The plate itself never received a publisher's address although it is clear it was in the hands of the Rossi family before it passed to the Calcografia Nazionale."Boorsch Lewis and Lewis The Engravings of Giorgio Ghisi no. 39 p. 139-141. no printer, no date, after hardcover