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Pietro Berrettini, Hostium corpora Scipio (Scipio and his Enemies)

Berrettini, Pietro (called Pietro da Cortona, Cortona 1597 – Rome 1669). Hostium corpora Scipio Ferro uincere uuluit, Animos continentia uincere uoluit. Publius Cornelius Scipio Africanus (d. 183 B. C.), Roman consul twice + famous general against the Carthaginians (i. a. Hannibal), accused of embezzlement of booty, with supposedly wife + daughter between two of his enemies, pointing at precious jars. Behind of the group warriors. Engraving by Cornelis Bloemaert II (Utrecht c. 1603 – Rome 1692). Inscribed: Eques Petrus Berettins, Corton, pinx. floren. in Æ dib. Seren. magni. Ducis Hetrur. / Cornel. Bloemart Sculp., otherwise as above. Sheet-size 8¼ × 12 in (21 × 30.4 cm).

Watermark. – Generally somewhat dusted, trimmed within the platemark, below under lost of the address of Jo. Jacob. de Rubeis (after 1640). At two corners repaired by old in the wide white field, thereby the first two characters of the signature line added by hand.

After Berrettini’s lunette fresco under preservation of just its semicircular framing, with the scenery not crossing the latter as typical for Berrettini and became “representative especially for Charles Le Brun’s decorations of the vaults in Versailles” (Jörg Martin Merz).

Berrettini, creator of also an “Alexander Battle”, is “(extremely important) for the development of the Roman and general Italian baroque painting … His importance … is similar to that of his two contemporaries, Bernini’s for sculpture and Boromini’s for architecture, trail-blazing and directive. He is the founder of a new style in Rome which from there spread through the civilized world within short time” (Oskar Pollak per “Cortona” in Thieme-Becker VII [1912], 486/II + 495/II).

And for Cornelis Bloemaert on his part the depiction of paintings was “an artistic challenge certainly sought by him to which he was up in excellent manner. The reproduction of antiques aside, in Rome he chiefly works after contemporary painters, above all Pietro da Cortona and (his favorite pupil) Ciro Ferri, as well as … Nicolas Poussin, … Guido Reni, also … Annibale Carracci … His ability esteemed by the greatest Roman artists was to transfer the picturesque values of a painting, especially the chiaroscuro, into the graphic medium in a manner not known until then. Thereby he tended stylistically towards the baroque classicism, and the preponderant part of works after the respective artists earned him the reproach of excessive softness in later periods. With contemporaries his work enjoyed great esteem, however, and several mostly French baroque engravers have to be considered as his direct successors, among them Charles Audran … ” (Gero Seelig 1995 in Allgemeines Künstler Lexicon XI).

Offer no. 15,234 / EUR  345. / export price EUR  328. (c. US$ 379.) + shipping


“ … and I wish to thank you for packing it so carefully … ”

(Mr. P. M., August 28, 2003)