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細節
TIEPOLO, GIOVANNI DOMENICO (1727-1804)
The Flight into Egypt (Rizzi 67-93)
The complete set, comprising the dedication, frontispiece, title-page and set of twenty-four etchings, 1753, fine impressions printing with pronounced contrast, on laid paper, final states (according to Tunick's revisions to the Rizzi catalogue), ten with partial Three Crescent watermarks, the majority with reduced margins, loose, together with the original paper wrapper (?), inscribed Compositions pittoresques Sur la fuite de la S.te Vierge en Egypte par Jean Dominique Tiepolo in an eighteenth century hand, each matted and generally in very good condition.
P. 7 x 9 7/8 in. (and smaller)
S. 10 x 14 in. (and smaller)
Literature:
Aldo Rizzi, The Etchings of the Tiepolos, Phaidon Press, London, 1971.
Felix Reue, Giandomenico Tiepolo -- Die Flucht nach Ägypten, Augustinermuseum Freiburg (exh. cat.), Freiburg im Breisgau, 2007.
The Flight into Egypt is undoubtedly Giandomenico Tiepolo's most important work in the print medium and one of the great series in the history of European printmaking. He presumably created the majority of the plates while working, together with his father Giambattista and his brother Lorenzo, on the frescos in the Imperial Hall and the staircase of the Neue Residenz at Würzburg. The series is dedicated to their patron, Carl Philipp von Greiffenclau, Prince-Bishop of Würzburg, and dated 1753. It has been argued on stylistic grounds, however, that some of the plates were designed as early as 1750, perhaps even before the departure of the Tiepolo family from Venice and their arrival in Franconia.
The story of the Holy Family's flight into Egypt is related only briefly in Matthew (2, 13-23). More elaborate accounts of the events are given in the apocryphal book of Pseudo-Matthew and in the medieval Legenda Aurea. Beginning with Schongauer and Dürer, the Flight into Egypt became a popular motif for prints, offering the opportunity to depict pastoral scenes within a biblical context. Rembrandt made no less than eight etchings and drypoints of the Flight or the Rest on the Flight. By turning the episode into a pictorial cycle, Giandomenico however changed the handling of the subject completely.
Apart from the first and last images, which depict the Holy Family's departure from Bethlehem and their arrival in Egypt, the plates are practically interchangeable. It was not the telling of remarkable events or miracles occurring along the way which interested Giandomenico. Instead, as the original title Ièe pittoresche sopra la Fugga in Egitto implies, the series consists of variations on a theme. The idea of the journey itself allowed Giandomenico to re-arrange the Holy Family, the angels, the donkey, the trees and the landscape in ever-changing compositions. Supported by the landscape format, every plate conveys a sense of restlessness. Everything moves and trembles - the angels' wings, Joseph's hair, the donkey's mane, the leaves and the birds -- as if caught by a sudden breeze. This sense of movement is heightened by Giandomenico's nervous, sketchy lines, which lend the scenes an 'almost impressionist lightness' (Reue, p. 17).
"The theme of the Holy Family', as Aldo Rizzi observed, 'had been rendered sterile by centuries of use [] Giandomenico gave back to the subject a new 'lease' of lyricism" (Rizzi, p. 18).
The Flight into Egypt (Rizzi 67-93)
The complete set, comprising the dedication, frontispiece, title-page and set of twenty-four etchings, 1753, fine impressions printing with pronounced contrast, on laid paper, final states (according to Tunick's revisions to the Rizzi catalogue), ten with partial Three Crescent watermarks, the majority with reduced margins, loose, together with the original paper wrapper (?), inscribed Compositions pittoresques Sur la fuite de la S.te Vierge en Egypte par Jean Dominique Tiepolo in an eighteenth century hand, each matted and generally in very good condition.
P. 7 x 9 7/8 in. (and smaller)
S. 10 x 14 in. (and smaller)
Literature:
Aldo Rizzi, The Etchings of the Tiepolos, Phaidon Press, London, 1971.
Felix Reue, Giandomenico Tiepolo -- Die Flucht nach Ägypten, Augustinermuseum Freiburg (exh. cat.), Freiburg im Breisgau, 2007.
The Flight into Egypt is undoubtedly Giandomenico Tiepolo's most important work in the print medium and one of the great series in the history of European printmaking. He presumably created the majority of the plates while working, together with his father Giambattista and his brother Lorenzo, on the frescos in the Imperial Hall and the staircase of the Neue Residenz at Würzburg. The series is dedicated to their patron, Carl Philipp von Greiffenclau, Prince-Bishop of Würzburg, and dated 1753. It has been argued on stylistic grounds, however, that some of the plates were designed as early as 1750, perhaps even before the departure of the Tiepolo family from Venice and their arrival in Franconia.
The story of the Holy Family's flight into Egypt is related only briefly in Matthew (2, 13-23). More elaborate accounts of the events are given in the apocryphal book of Pseudo-Matthew and in the medieval Legenda Aurea. Beginning with Schongauer and Dürer, the Flight into Egypt became a popular motif for prints, offering the opportunity to depict pastoral scenes within a biblical context. Rembrandt made no less than eight etchings and drypoints of the Flight or the Rest on the Flight. By turning the episode into a pictorial cycle, Giandomenico however changed the handling of the subject completely.
Apart from the first and last images, which depict the Holy Family's departure from Bethlehem and their arrival in Egypt, the plates are practically interchangeable. It was not the telling of remarkable events or miracles occurring along the way which interested Giandomenico. Instead, as the original title Ièe pittoresche sopra la Fugga in Egitto implies, the series consists of variations on a theme. The idea of the journey itself allowed Giandomenico to re-arrange the Holy Family, the angels, the donkey, the trees and the landscape in ever-changing compositions. Supported by the landscape format, every plate conveys a sense of restlessness. Everything moves and trembles - the angels' wings, Joseph's hair, the donkey's mane, the leaves and the birds -- as if caught by a sudden breeze. This sense of movement is heightened by Giandomenico's nervous, sketchy lines, which lend the scenes an 'almost impressionist lightness' (Reue, p. 17).
"The theme of the Holy Family', as Aldo Rizzi observed, 'had been rendered sterile by centuries of use [] Giandomenico gave back to the subject a new 'lease' of lyricism" (Rizzi, p. 18).