Collection of Prints and Drawings

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Production People
Giovanni Jacopo Caraglio (Print made by)artist bio
Caraglio, Giovanni Jacopo
b Verona or Parma, c. 1500–05; d ?Kraków, 26 Aug 1565

Rosso Fiorentino (After)artist bio
Rosso Fiorentino [Giovanni Battista di Jacopo Rosso]
b Florence, 8 March 1494; d ?Fontainebleau, 14 Nov 1540

Baviera (Published by)artist bio
Baviera [Bononia, Baveram de; Carocci, Baverio de’]
fl c. 1515–after 1527
Title / Description
Fury (Frenzy)
c. 1524
247 x 185 mm (sheet, trimmed)
no (a poem arranged in two columns and printed from a separate plate has been added to some impressions of this print)
only state
illegible, h: 26 mm, w: 25 mm
Nikolaus Esterházy (not stamped)
Bartsch XV.92.58 info
Adam Bartsch, Le peintre-graveur, vols. 21, Vienna 1803-21

Le Blanc I.589.61 info
Charles Le Blanc, Manuel de l'amateur d'estampes, 4 vols., Paris 1854-90

Herbet vol. III, p. 136 info
Felix Herbet, Les graveurs de l'École de Fontainebleau, unchanged reprint of the articles published in the Annales de la Société Historique & Archéologique du Gatinas 1896-1902, Amsterdam 1969

Washington 1987, no. 8 info
Rosso Fiorentino: Drawings, Prints, and Decorative Arts, ed. Eugene A. Carroll, exhibition catalogue, Washington, National Gallery of Art 1987

Davis 1988, no. 17 info
Bruce Davis, Mannerist Prints: International Style in the Sixteenth Century, exhibition catalogue, Los Angeles, County Museum of Art 1988

Cirillo Archer in TIB 1995, 2802.058 (only state) info
Madeline Cirillo Archer, Italian Masters of the Sixteenth Century, The Illustrated Bartsch, vol. 28, Part 1 (Commentary), New York 1995

Gramaccini and Meier 2009, no. 92 info
Norberto Gramaccini and Hans Jacob Meier, Die Kunst der Interpretation: Italienische Reproduktionsgrafik 1485-1600, Berlin and Munich 2009
Giorgio Vasari mentioned this print as the first of Jacopo Caraglio's engravings, and also the first after a design by Rosso Fiorentino (Lives, vol. 5, p. 424). Rosso's preparatory drawing for this print is probably lost. According to Bruce Davis, although the design had been characterized as Rosso's reaction to the Laocoon group and Michelangelo's ignudi, this figure has nothing of the heroism and idealism of those works. In his opinion, however, the composition does reflect Michelangelo's art, such as his écorchés or his drawing of a shouting man thought to represent a Damned Soul in the Uffizi, Florence. The figure's posture is close to the antique Apollo Belvedere. The style of this print resembles that of the Skeletons (Bartsch XIV.320.424, see our inv. no. 25097), and its subject is also associated with Death, both supposedly because Baviera wanted a similar image to follow upon the success of the Skeletons. For the symbolism of the image, see Carroll in Washington 1987. The title 'Fury' was given by Bartsch, but there is no reference to this in the poem attached to some impressions of this print.
Inventory Number
Prints: Italian: 16th century: Mounted I
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