Annunciation
| Reference: | S36079.6 |
| Author | Hendrick GOLTZIUS |
| Year: | 1594 |
| Measures: | 350 x 460 mm |
€3,000.00
| Reference: | S36079.6 |
| Author | Hendrick GOLTZIUS |
| Year: | 1594 |
| Measures: | 350 x 460 mm |
€3,000.00
Description
Engraving, 1594, signed with monogram and dated on the tablet at lower centre in the image “HG/A 1594”. Second state, of five, with the dedication by Shonaus and verses, before the numeral 1.
Magnificient example, printed on contemporary laid paper, with “bird in circle”, trimmed close to platemark, in very good condition.
From the series “Life of Virgin”
The "Annunciation" is the earliest event of the six scenes from the life of the Virgin that Goltzius selected from the Gospels, yet it is probably the fifth in order of execution. Dated 1594, it was at the very least preceded by the two subjects that are dated 1593, and probably also by those dated 1594 with verses by Estius.
The entire series was dedicated to Duke William of Bavaria, but the actual dedication appears only on this sheet. It consists of eight lines in Latin, written by Cornelis Schonaeus, rector of the Haarlem Latin School.
The subsequent sheets of this series have verses by Schonaeus instead of by Estius. We have been unable to discover the reason for the change of authors and what happened to Estius after 1594
In this engraving, the Archangel Gabriel is bringing the glad tidings to the Virgin. Bartsch, following Mariette, believed that this rendering is in the style of Raphael, but Hirschmann is not quite convinced. Calling the style "Baroque," he finds it closer to Federigo Zuccaro, whom Goltzius had met in Rome, or even to Correggio. Hirschmann points out that Murillo's "Annunciation," in Amsterdam, seems to have been inspired by the same model.
Unidentifiable collection mark on recto; on verso, collection mark of Albert Van Look (L.3752).
Literature
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Bartsch, 15; Strauss, n. 321 p. 584
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Hendrick GOLTZIUS (Mulbrecht 1559 - Haarlem 1617)
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Dutch painter and engraver, was born at Millebrecht, in the duchy of Julich.
After studying painting on glass for some years under his father, he was taught the use of the burin by Dirk Volkertszoon Coornlert, a Dutch engraver of mediocre attainment, whom he soon surpassed, but who retained his services for his own advantage. He was also employed by Philip Galle to engrave a set of prints of the history of Lucretia.
At the age of twenty-one he married a widow somewhat advanced in years, whose money enabled him to establish at Haarlem an independent business; however his unpleasant relations with her so affected his health that he found it advisable in 1590 to make a tour through Germany to Italy, where he acquired an intense admiration for the works of Michelangelo, which led him to surpass that master in the grotesqueness and extravagance of his designs. He returned to Haarlem considerably improved in health, and laboured there at his art till his death.
Goltzius ought not to be judged chiefly by the works he valued most, his eccentric imitations of Michelangelo. His portraits, though mostly miniatures, are master-pieces of their kind, both on account of their exquisite finish, and as fine studies of individual character. Of his larger heads, the life-size portrait of himself is probably the most striking example. His master-pieces, so called from their being attempts to imitate the style of the old masters, have perhaps been overpraised.
In his command of the burin Goltzius is not surpassed even by Dürr; but his technical skill is often unequally aided by higher artistic qualities. Even, however, his eccentricities and extravagances are greatly counterbalanced by the beauty and freedom of his execution. He began painting at the age of forty-two, but none of his works in this branch of art--some of which are in the imperial collection at Vienna--display any special excellences. He also executed a few pieces in chiaroscuro.
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Literature
|
Bartsch, 15; Strauss, n. 321 p. 584
|
Hendrick GOLTZIUS (Mulbrecht 1559 - Haarlem 1617)
|
Dutch painter and engraver, was born at Millebrecht, in the duchy of Julich.
After studying painting on glass for some years under his father, he was taught the use of the burin by Dirk Volkertszoon Coornlert, a Dutch engraver of mediocre attainment, whom he soon surpassed, but who retained his services for his own advantage. He was also employed by Philip Galle to engrave a set of prints of the history of Lucretia.
At the age of twenty-one he married a widow somewhat advanced in years, whose money enabled him to establish at Haarlem an independent business; however his unpleasant relations with her so affected his health that he found it advisable in 1590 to make a tour through Germany to Italy, where he acquired an intense admiration for the works of Michelangelo, which led him to surpass that master in the grotesqueness and extravagance of his designs. He returned to Haarlem considerably improved in health, and laboured there at his art till his death.
Goltzius ought not to be judged chiefly by the works he valued most, his eccentric imitations of Michelangelo. His portraits, though mostly miniatures, are master-pieces of their kind, both on account of their exquisite finish, and as fine studies of individual character. Of his larger heads, the life-size portrait of himself is probably the most striking example. His master-pieces, so called from their being attempts to imitate the style of the old masters, have perhaps been overpraised.
In his command of the burin Goltzius is not surpassed even by Dürr; but his technical skill is often unequally aided by higher artistic qualities. Even, however, his eccentricities and extravagances are greatly counterbalanced by the beauty and freedom of his execution. He began painting at the age of forty-two, but none of his works in this branch of art--some of which are in the imperial collection at Vienna--display any special excellences. He also executed a few pieces in chiaroscuro.
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