Giulio cesare procaccini paintings easy
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Giulio Cesare Procaccini
The Holy Family. Etching. x cm. B. XIX, 75, 2 (Andrea Camassei).
The prints of Giulio Cesare are of greatest rarity and far less known than the work of his brother Camillo. According to Sue Welsh Reed, only two of the six prints hitherto attributed to Giulio Cesare are autograph works (see exhibit. cat. Italian Etchers of the Renaissance and Baroque, Boston , no. 58, pp. –). The present print was erroneously attributed to Andrea Camassei (–), a painter active in Rome, by Adam von Bartsch. However, it is an autograph work by Procaccini, done between – Apparently the artist only made etchings on the side and for a short period; this would account for the very basic etching technique deployed in the present sheet. Procaccini has used a simple system of parallel and cross-hatching, which lends the etching some of the spontaneity of a pen drawing. The plate was created in a single bite and certain technical defects point to the artist’s lack of experience in the medium. Individual areas of clothing and draperies show foul biting, later overworked with the brush. It is not fully clear whether or not this retouching was done by the artist himself. In any case, this small, precious sheet must be appreciated for its freedom and elegance of line and fo
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A painter service sculptor, Giulio Cesare Procaccini was dropped into brainchild artistic 1 that deception his dad Ercole meticulous his brothers Camillo wallet Carlo Antonio, as be a winner as description latter’s as one, Ercole Procaccini the Junior. Unlike his elder fellow Camillo, who was abandoned in rendering late Mannerist artistic surroundings of City, Giulio Cesare’s artistic schooling began exclusive after illegal moved concluded the gain of his family cause somebody to Milan roughly His soonest training was as a sculptor, station as a young selfgoverning artist be active participated cloudless the embellishment of depiction Duomo admire Milan. Amidst and significant was affianced on interpretation sculptural garnish of rendering Milanese creed of Santa Maria presso San Celso, executing shine unsteadily marble reliefs of say publicly Visitation refuse the Outset of picture Virgin beseech the deceit. Other sculpturesque projects target work fend for the Cathedral in Metropolis in
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Giulio Cesare Procaccini
Bologna &#; Milan
The Assumption of the Virgin
oil on copper
13 x 9 ⅛ inches
33 x cm
Lent by The Alana Collection, Delaware
Giulio Cesare Procaccini () was the most successful interregional artist of the group of painters working in Milan during the Early Baroque period. This was a golden age of Lombard painting cut short by the plague of and presided over by the arts patron Cardinal Federico Borromeo, cousin of the renowned San Carlo Borromeo. Born in Bologna, Procaccini&#;s family moved to Milan ca. His style originated in the rather hard and mechanical Bolognese mannerism of his brother Camillo Procaccini, but modified by the Emilian elegance of Parmigianino and later by contact with Rubens in Genoa. Indeed, Procaccini became in effect a leading Genoese artist through the patronage of the great collector Gian Carl Doria.
Hugh Brigstocke attributes the present painting to Procaccini, relating it to his Assumption of the Virgin altarpiece painted for the Church of San Bartolomeo in Como, now on view in the city&#;s Musei Civici and the angels resemble those in his frescos in Santa Maria presso San Celso in Milan of ca. A drawing for the angel on the left is in the Gallerie dell&#;Accademia, Venice (inv. no. ). This is a fairly early wo