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Rome
Rome
In the first decades of the seventeenth century when Callot stayed in Rome, the pontifical city was the artistic capital of Europe where artists such as Caravaggio and the Carracci had just created major works of art that would ultimately change the course of the European artistic tradition. There, Callot became familiar with contemporary and Renaissance artistic traditions.
The Fall of Sapphire [Tableaux de Rome]
- Engraving after Roncalli, c.1610-11 [inv.1972.01.182A35]
- [14 x 9] (L35)
St. Peter and St. John Healing the Lame Man [Tableaux de Rome]
- Engraving after Cigoli, c.1610-11 [inv.1972.01.182A38]
- [14 x 9.5] (L38)
- Inscribed, lower left: Ludovicus Civolius invent.
St. Jerome and his Disciples [Tableaux de Rome]
- Engraving after Muziano, ca.1610-11 [inv.1972.01.182A43]
- [14 x 10] (L43
Ascension of Christ [Tableaux de Rome]
- Engraving after Zucchi, c.1610-11 [inv.1972.01.182A30]
- [12.5 x 10] (L30)
Grisaille
Grisaille is a monochrome painting in grey or greyish color. Seven of Tempesta's grisaille paintings survived (Pitti Palazzo, Florence).
Death of the Queen of Spain [The Funeral Book of the Queen of Spain]
- Etching, 1612 [inv.1972.01.182B69]
- [12.5 x 17] (L69)
- Inscribed, lower left: I. Callot f., lower right: 26
Storm in Barcelona [The Funeral Book of the Queen of Spain]
- Etching, 1612 [inv.1972.01.182B62]
- [13 x 18] (L62)
- Inscribed, lower left: I. Callot f. 18, lower right: 17
Florence
When Callot reached Florence around the end of 1611, the city was still a great center of artistic and intellectual production. Moreover, the ties between Nancy, Callot's native city and Florence were important since Ferdinand I, Grand Duke of Tuscany (1587-1609), had married Christine of Lorraine. The artistic patronage of Cosimo II, Grand Duke after the death of his brother Ferdinand I, was extensive. He attracted to his court artists such as Filippo Napoletano, Battistello Caracciolo and Artemisia Gentileschi. In this favorable climate, Callot's mastery of engraving and etching bloomed.
Mount Parnassus [The War of Beauty]
- Etching, after Giulio Parigi, 1616 [inv.1972.01.182M178]
- [15 x 22.5] (L178)
- Inscribed, lower right: Iullius Parigii In. I Callot delineavit et F.
- The inscription tells us that the allegorical program of this float paid homage to the literary achievements of Federigo's court and it includes a specific reference to Baldassare Castiglione who used the Court of Urbino as setting for his famous Book of the Courtier [Il Cortegiano] of 1528.
Entry of The Wagons of Africa and Asia [The War of Love]
- Etching, 1616 [inv.1972.01.182M170]
- [22.5 x 30] (L170)
- Inscribed, lower left: Iac. Callot. Fe., bottom center: Mostra della Guerra d'Amore festa del Ser. Gran Duca di Toscana Fatt Lanno 1615.
