Collection of Prints and Drawings

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Production People
Andrea Schiavone (Print made by)artist bio
Schiavone, Andrea [Meldolla; Meduli?, Andrija]
b ?Zara [now Zadar], ?c. 1510; d Venice, 1 Dec 1563
Title / Description
God Appearing to Moses
 
Date
c. 1544-48
 
Technique
etching, drypoint
Material
paper
Dimensions
116 x 214 mm (sheet, trimmed)
Inscriptions
no
State
fourth state
 
Watermark
no
Provenance
Nikolaus Esterházy (Lugt 1966)
 
References
Bartsch XVI.41.3 info
Adam Bartsch, Le peintre-graveur, vols. 21, Vienna 1803-21

Stanley in Bryan 1858, no. 3 (second state of two) info
George Stanley, 'Andrea Meldolla,' in Michael Bryan, Dictionary of Painters and Engravers, London 1858

Fröhlich-Bum 1913-14, pp. 159, 172, 218 (second state
of two) info
Lili Fröhlich-Bum, 'Andrea Meldolla, genannt Schiavone,' Jahrbuch der Kunsthistorischen Sammlungen des Allerhöchsten Kaiserhauses 31 (1913-14), pp. 135-220

Oberhuber 1966a, p. 146, no. 243 info
Konrad Oberhuber, Renaissance in Italien. 16. Jahrhundert, exhibition catalogue, Vienna, Albertina 1966

Richardson 1980, no. 3 info
Francis L. Richardson, Andrea Schiavone, Oxford 1980

Dillon in Venice 1981, no. 113 info
Gianvittorio Dillon in Da Tiziano a El Greco: Per la storia del Manierismo a Venezia, ed. Rodolfo Palluchini, exhibition catalogue, Venice, Palazzo Ducale 1981

Landau in London 1983, no. P39 info
David Landau, 'Printmaking in Venice and the Veneto' in The Genius of Venice 1500-1600, eds. Jane Martineau and Charles Hope, exhibition catalogue, London, Royal Academy of Arts 1983, pp. 303-54

Van der Sman 2003, no. IV.7 (only state) info
Gert Jan van der Sman, Le siècle de Titien: Gravures vénitiennes de la Renaissance, exhibition catalogue, Maastricht, Bonnefantenmuseum and Bruges, Musée des Beaux-Arts 2003
 
Comment
According to Van der Sman 2003, the landscape recalls drawings by Giulio and Domenico Campagnola, and Titian. Richardson emphasized the similarities of this print with Giulio Campagnola's works and suggested a date of 1544-48, but Dillon in Venice 1981 claims that is too late, because Schiavone's technique and manner was more advanced in that period. According to Landai in London 1983, the print demonstrates Schiavone's imaginative use of drypoint and the tonal effects call to mind Rembrandt's experimental printmaking. Also similarly to Rembrandt's working methods, in many cases each early impression is a new state. The fine details of the landscape background are conserved only in the few early impressions that survived. Chiara Callegari noted on the mat that this is a fourth state impression.
 
Inventory Number
6296
 
Classification
Prints: Italian: 16th century: Mounted I
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