Etching La Morte rapisce un fanciullo by Stefano Della Bella, 1648

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Engraver and draftsman Stefano Della Bella (Florence 1610 - Florence 1664), devoted himself sporadically to painting. His father Francesco, a sculptor and pupil of Giambologna, died prematurely, but managed to initiate all his children into the artistic professions. Stefano was the only one to excel, he had the first teachings in the stores of forgotten goldsmiths who had the merit of making him familiar with the burin. He was essentially self-taught. Bibliographic sources state that he practiced drawing figures curiously starting from the feet and copying the engravings of Jacques Callot having as his only comparison the engraver Remigio Cantagallina. He was then noticed by the painter Giovan Battista Vanni who took him into his workshop and gave him his first lessons in painting and drawing. Della Bella's vocation was certainly the engraving and already his first works reveal the themes dearest to him: scenes of contemporary life, festivals, battles and decorations. The study of engravings and drawings by ancient masters, the knowledge and comparison with the Florentine and Flemish masters who were his contemporaries at the time and present at the Medici court were a great stimulus. He is considered a pure graphic artist, thanks to his many trips between Rome and Paris and thanks to the protection of the Medici he developed his own graphic language, during his life and throughout the eighteenth century he was sought after and collected in France and Italy. This print is the third in the series Les cinq Morts, engravings in oval on rectangular plate, executed in about 1648. From the left we see the skeletal figure of death moving towards the center, impetuously kidnapping a child. Her face is gaunt and shrieking, and she is forcefully carrying a young boy on her shoulders, covered by a billowing cloak and richly draped in strong chiaroscuro contrasts. His face framed by wavy hair is frightened, he looks upward as if to ask for help, attracting the attention of onlookers, the gesture is also emphasized by the left arm raised. Behind them is represented with long, parallel strokes the mass grave of the Parisian cemetery of the Holy Innocents. Several men caught in different poses and attitudes animate the scene; some in prayer, some in contemplation, some like the man hunched over and digging a grave. Excellent impression. Excellent state of preservation. Minimal margins beyond the beat of the copper on thicker virgin paper. Bibliography: De Vesme-Massar 89, page 31.

ID: 11318-1611585418-14517