Stefano Della Bella (Florence 1610 - Florence 1664) was an engraver and draftsman, he 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 designer, 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 part of the series Landscapes and Seaports, consisting of 6 sheets all in circular format. Here is represented, immersed in a landscape characterized by trees, foliage and shrubs that are arranged as a theatrical backdrop, a young female satyr. She is seated and holds a nursing child in her arms; the child, wrapped in a soft, thin fabric, looks towards the viewer. To the left of the composition we find a small satyr kneeling on the ground while playing with plant garlands. Everything is described through a quick and decisive sign. At lower left, engraved beyond the image "Stef. Della Bella fecit. 1656". Excellent impression with strong inking. Excellent state of preservation. Trimmed at the copper stop. State II/II with all the inscriptions. Bibliography: De Vesme-Massar 270, page 144.
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