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拍品專文
Né et formé à Munich, Hans Rottenhammer se rendra en Italie en 1588 où il restera jusqu’en 1606. Il passera la majeure partie de son séjour à Venise restant à Rome de 1594 à 1595. Bien que ses oeuvres de l’époque témoignent de ses origines allemandes, l’influence du travail des frères Zuccaro, du Cavalier d’Arpin ainsi que celle d’artistes vénitiens tels que Véronèse et Palma il Giovane est également bien présente. Les dessins de cette période italienne associent souvent l’utilisation de la sanguine et de la pierre noire, tandis que ceux réalisés après son départ pour Augsbourg sont généralement exécutés à la plume et au lavis. Le présent dessin en est un parfait exemple. Nathalie Strasser date ce dessin entre 1608 et 1610, peu de temps après le départ de l’artiste d’Italie. Une centaine de feuilles de Rottenhammer sont aujourd’hui connues, dont la plupart sont réalisées à la plume et au lavis. (voir H. Schlichtenmaier, Studien zum Werk Hans Rottenhammers des Älteren (1564-1625). Maler und Zeichner, Tubingue, 1988, pp. 194-384).
Born and trained in Munich, Hans Rottenhammer travelled to Italy in 1588 where he remained until 1606. The majority of his time there was spent in Venice, although he stayed in Rome from 1594 until 1595. While his work from the period shows his Germanic roots, the influence of the work of the Zuccaro brothers and Cavaliere d’Arpino, as well as that of Venetian artists like Veronese and Palma il Giovane, is also apparent. The drawings from his Italian period often combine red and black chalk, but the sheets made after he left Italy for Augsburg are generally executed with fine penwork combined with carefully applied wash. The present drawing is a particularly good example of this type, and Nathalie Strasser suggests it was made between 1608 and 1610, soon after the artist left Italy. About a hundred sheets by Rottenhammer are known to have survived, of which most are made in pen and wash (see H. Schlichtenmaier, Studien zum Werk Hans Rottenhammers des Älteren (1564-1625). Maler und Zeichner, Tübingen, 1988, pp. 194-384).
Born and trained in Munich, Hans Rottenhammer travelled to Italy in 1588 where he remained until 1606. The majority of his time there was spent in Venice, although he stayed in Rome from 1594 until 1595. While his work from the period shows his Germanic roots, the influence of the work of the Zuccaro brothers and Cavaliere d’Arpino, as well as that of Venetian artists like Veronese and Palma il Giovane, is also apparent. The drawings from his Italian period often combine red and black chalk, but the sheets made after he left Italy for Augsburg are generally executed with fine penwork combined with carefully applied wash. The present drawing is a particularly good example of this type, and Nathalie Strasser suggests it was made between 1608 and 1610, soon after the artist left Italy. About a hundred sheets by Rottenhammer are known to have survived, of which most are made in pen and wash (see H. Schlichtenmaier, Studien zum Werk Hans Rottenhammers des Älteren (1564-1625). Maler und Zeichner, Tübingen, 1988, pp. 194-384).