Antonio Tempesta

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Antonio Tempesta

Antonio Tempesta (* around 1555 in Florence ; † August 5, 1630 in Rome ) was an Italian painter , draftsman and etcher .

Life

Tempesta was a student of of Bruges originating Stradanus alias Stradanus, the key personnel of Giorgio Vasari . As part of Stradanus' team, Tempesta probably worked on the decoration of the Palazzo Vecchio and parts of the corridor of the Uffizi . He created most of his works in Rome , where he moved around 1580 and, apart from short trips, stayed until his death. With his compositions focused on aesthetic clarity and narrative consistency, he is considered the protagonist of the style change from Mannerism to early Baroque in Rome. In the pontificate of Pope Gregory XIII. he painted the figures of the scenes created by Mathijs Bril from the translation of the relics of Gregory of Nazianzen in the Loggia Gregoriana of the Vatican Palace, one of the earliest series of painted Rome Vedutas. He also seems to have been involved in the painting of the Gambara Casino at Villa Lante in Bagnaia . At the latest under Pope Sixtus V , Tempesta turned to printmaking - but without ever giving up painting.

Large battle picture with fighting riders by Antonio Tempesta

At first he created drawings as templates for other engravers, erasers and wood cutters, including Francesco Villamena , Matthaeus Greuter and Paul Maupin , and from 1589 at the latest he did his own etching. With his approx , he was one of the most influential and most copied artists of his time and throughout the 17th century. Even Rembrandt van Rijn and Rubens , Velazquez and Poussin used Tempestas prints as inspiration for their own works. He became particularly famous for his Rome map from 1593 and numerous fighting and hunting scenes as well as depictions of animals, including a cycle of horses inspired by the work of his teacher Jan van der Straet. Influential Tempesta was also as an illustrator for publications Typographia Medicea in Rome and through its innovative at that time practice, numerous etchings, including the 150 scenes from the Metamorphoses of Ovid print, not in Rome but in Antwerp and to publish: The Metamorphoses published in 1606 by Pieter de Jode the Elder . Tempesta also etched two series based on drawings by Otto van Veen , which were sent to him from Antwerp to Rome: the "War of the Batavians against the Romans" ( Batavian Uprising ) and the "Story of the Infants of Lara ". Tempesta sent the engraved plates to Antwerp, where they were published in 1612.

In the period after 1600 Tempesta produced numerous paintings on stone ( marble , alabaster , lapis lazuli etc.), which not only found their way into the collections of the Roman nobility immediately, but were also in international demand - two corresponding works can be found in an inventory of Kaiser After the turn of the century, Rudolf II. Tempesta painted frescoes in the Roman Church of San Pancrazio and - side by side with Guido Reni and Paul Bril - in the Casino Borghese on the Quirinal . One of Tempesta's latest canvas paintings is the large-format resurrection for Santa Felicita in Florence , which is still on site. Tempesta's sponsors and clients included Giulio Roscio , Antonio Gallonio , Benedetto Giustiniani , Vincenzo Giustiniani the Younger , Scipione Caffarelli Borghese and Taddeo Barberini . According to André Félibien, his students included Claude Deruet from Lorraine ; possibly Jacques Callot learned to erase from him.

Aftermath

Tempesta's inventions were an important source of inspiration for artists of the 17th and 18th centuries. Matthäus Merian and Stefano della Bella based numerous works on compositions by Tempesta. Aby Warburg developed his on May 29, 1926 in. From observations on Rembrandt's reception behavior towards Tempesta's etchings, in particular on the dependence of the “Conspiracy of Claudius Civilis ” (today in the National Museum Stockholm) on a composition in the “War of the Batavians against the Romans” Hamburg lecture “Italian antiquity in the age of Rembrandt”. Giorgio de Chirico was a great admirer of Tempesta's etchings, especially the battle scenes, and used them as models for various of his paintings.

literature

  • Michael Bury: Antonio Tempesta as Printmaker: Invention, Drawing and Technique, in: Drawing 1400-1600: Invention and Innovation , Aldershot 1998, pp. 189-205.
  • Eckhard Leuschner: Antonio Tempesta's Drawings for a Gerusalemme liberata, in: Master Drawings 37, 1999, pp. 138–155.
  • Sofia Pezzati: Due dipinti trascurati di Antonio Tempesta e un misterioso disegno, in: Paragone Arte 53, 2002, Ser. 3.43, pp. 71-80.
  • Eckhard Leuschner, 'Censorship and the Market: Antonio Tempesta's "New" Subjects in the Context of Roman Printmaking ca.1600', in: The Art Market in Italy, 15th-17th Centuries , ed. by Marcello Fantoni, Modena 2003, pp. 65-73.
  • Eckhard Leuschner: The Illustrated Bartsch Commentary, 35.1: Antonio Tempesta , Abaris Books, New York 2004.
  • Eckhard Leuschner: "Une Histoire telle que celle-ci, qui tient un peu du Roman": Allegory and history in Antonio Tempesta's 'Infanten von Lara' and André Félibien, in: Marburger Jahrbuch für Kunstwissenschaft 32, 2005, p. 203– 243.
  • Eckhard Leuschner: Antonio Tempesta. A pioneer of the Roman Baroque and its European impact. Michael Imhof Verlag, Petersberg, 2005 (= studies on international architecture and art history, 26), ISBN 3-937251-50-2
  • Philippe Rouillard: Tempesta et la France, in: Nouvelles de l'Estampe 211, 2007, pp. 21-38.
  • Massimo Giuseppe Bonelli: "Pinguntur enim portus, promuntoria, litora ...": le suggestioni dell'antico negli affreschi di Antonio Tempesta nel Casino Gambara di Villa Lante, in: L'età di Michelangelo e la Tuscia , ed. by Laura Pace Bonelli, Viterbo 2007, pp. 87-100.
  • Eckhard Leuschner: The Illustrated Bartsch Commentary, 35.2: Antonio Tempesta , Abaris Books, New York 2007.
  • Eckhard Leuschner: Aux sources de l'art de Déruet: Antonio Tempesta, in: Amazones & cavaliers: Hommage à Claude Déruet , ed. by Sophie Harent, Nancy 2008, pp. 11–17.
  • Eckhard Leuschner: Drinking water: The Gideon theme and the aesthetics of the natural in Schönfeld, Tempesta and Poussin, in: Exh. Kat. Johann Heinrich Schönfeld: World of gods, saints and heroic myths , ed. by T. Hirthe, Zeppelin Museum Friedrichshafen and Staatsgalerie Stuttgart, Cologne 2009, pp. 74–85.

See also

Web links

Commons : Antonio Tempesta  - Collection of images, videos and audio files

Remarks

  1. ↑ cf. the publication of large parts of the manuscript including the corresponding correspondence from Warburg and Fritz Saxl in Leuschner, Petersberg 2005.
  2. ↑ cf. Exhib. Cat. Giorgio de Chirico and the Myth of Ariadne , ed. by Michael R. Taylor, Philadelphia Museum of Art 2003, pp. 179-180.
personal data
SURNAME Tempesta, Antonio
BRIEF DESCRIPTION Italian painter, draftsman and etcher
DATE OF BIRTH around 1555
PLACE OF BIRTH Florence
DATE OF DEATH August 5, 1630
Place of death Rome