Bacchanal of putti. Beautiful etching, aquatint and stippled of 1765, published by John Boydel in 1800 in London. Measurement of the plate 27 cm x 40. It depicts a bacchanal of putti invented by Marcantonio Franceschini (1648-1729), exquisitely Baroque style. Exemplary of the opera "The original pictures and drawings of various artists in The Collection of His Majesty." In excellent condition with inking to sepia. Engraved by Francesco Bartolozzi. The son of a Florentine goldsmith, F. Bartolozzi learned the rudiments of the engraving on copper just in the father's workshop. Careful student of the works of his predecessors since the early essays Bartolozzi shows the inclination to devote himself primarily to the work of translation of inventions of others, developing that peofessionalità and technical skills that will allow him to translate the ideas and styles of other artists. It iscive young Academy of Design in Florence, where he attended the courses of the painter Ignazio Hugford, with whom cillabora to the realization of the collection "The Hundred Thoughts of Anton Domenico Gabbiani Florentine painter". On this occasion, knows the German engraver Joseph Wagner at his workshop, the most important of Venice, he moved in August 1748. In the lagoon city Francesco Bartolozzi remains for sixteen years, participating in the artistic life and getting in touch major publishers and printers, besides with intellectuals, musicians and collectors: these are the years when results in etching the works of major contemporary artists, including Petro Longhi (the pharmacist, singing lessons) and the Piazzetta. In 1756 Bartolozzi is in Rome, where he began working for the Chamber Chalcography, established in 1738 by Pope Clement XII Corsini. Among the committees Roman portraits for "Lives" of Vasari, the series of etchings by the frescoes of Domenichino in Grattaferrata (1756 - 1757), the "Portrait of Domenico lazzarini". From 1760 is again in Venice where he starts to alternate operas and reproductions in collaboration with Wagner and autonomous engravings, as the series dedicated to Guercino to which he devoted himself almost exclusively between 1761 and 1765. These were the years in which Bartolozzi becomes holds his own workshop and where he married. For typography Albrizzi realizes the boards for "Studies of painting" by drawings of GB Piazzetta, while the work of M. Zocchi affects the series of "Months", one of the few subjects with views of his repertoire and one of the highest expressions of the Venetian period. In England, where it stops for about forty years, Francesco Bartolozzi is dedicated mainly to the translation, alternating with equal success the interpretation of the works of famous painters of the past and that of his contemporaries. In addition to drawings by Guercino from the Royal Collection, the artist reproduces drawings by Carracci, Pietro da Cortona, Guido Reni, Carlo Maratta. Member of the Society of Inncorporated Artist, in 1768 Bartolozzi is one of the founders of the Royal Academy 9of Arts: the engravers were excluded, so the artist was admitted as painter, thus arousing the envy of some colleagues. England knows Angelica Kaufmann, which is near particalarmente. A considerable part of English is dedicated to portraiture by Bartolozzi (especially Joshua Reynolds), even if the artist more tadotto is, undoubtedly, GB Cipriani, friend and fellow Academy. The last years of stay in London are also dedicated to the Bartolozzi illustazioni for "Paradise Lost" by Milton, with which you approach the historical issues - literary. In November 1802 Bartolozzi permanently leaves England and moved to Portugal: Lisbon is, for the artist, now elderly, a social goal and the culmination of a long and distinguished career. Rigorous and attentive to detail and the purity of the sign Bartolozzi conclude his career as a director of the House de Gravura, which has the merit of formareun large number of students and contribute to the formation of a school of engraving Portuguese.
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