definizione: stampa


identificazione: DAVID E GOLIA
titolo parallelo: David and Goliath
titolo: David decapita Golia




sec. XVI, prima metà
1520 ca. - 1527 ca.



primo stato (di cinque)


xilografia; chiaroscuro; mm 273 x 397 ca.
materia del supporto: carta






tipologia: indicazione di responsabilità
tecnica di scrittura: a stampa
tipo di caratteri: lettere capitali
posizione: in alto
trascrizione: RAPHAEL VRBINAS

tipologia: indicazione di responsabilità
tecnica di scrittura: a stampa
tipo di caratteri: lettere capitali
posizione: in basso
trascrizione: P VGO DA CARPI



Chiaroscuro woodcut from 3 blocks, light brown, medium brown, and black, state i
Inscriptions: “RAPHAEL VRBINAS” and “P VGO DA CARPI” in the light tone block

state i/v: “RAPHAEL VRBINAS” above top border and “P VGO DA CARPI” below lower borderare cut in the light tone block
state ii/v: “RAPHAEL VRBINAS” and “P. VGO DACARPO” cut from the light tone block in the image image; tone block cut back around dark borders
state iii/v: with plug in the spears
state iv/v: “P VGO DA CARPI” cut away
state v/v: “RAPHAEL VRBINAS” cut away

David and Goliath, captures the young Israelite shepherd David, with sword raised, about to behead the Philistine giant Goliath, who he has felled with a shot from his sling. Around these central figures, the Israelite and Philistine troops engage in combat. The chiaroscuro is in reverse of Marcantonio Raimondi's engraving, which in all likelihood served as Ugo's direct source. Marcantonio's engraving relates to Raphael's fresco design in the Vatican Loggia (Takahatake 2015; E. Hinterding in Chiaroscuro woodcuts from the Frits Lugt Collection in Paris).

Ugo's three-block chiaroscuro woodcut remained in circulation long enough for the blocks to undergo five state changes and eventually accumulate considerable insect damage (Johnson 1982 recorded three states). In the rare first state, the names of the designer “RAPHAEL VRBINAS” and printmaker/publisher “P VGO DA CARPI” are cut in the light tone block, respectively in the top and bottom of the perimeter that frames the composition. In the second state, both names appear together within the image in the bottom center foreground of the light tone block, and the tone block perimeter is cut back (for example, Ashmolean WA 1863.1690 and WA 1863.1691). Between the second and third states, the spears held by a combatant at upper left were modified with a plug inserted into the darkest block. Ugo's name is excised from the tone block in the fourth state, while Raphael's name is also removed in the fifth (states four and five must have been printed at a remove from Ugo, for the blocks are overly inked, the inks are inconsistently applied, and the ink palettes and formulation are atypical. For example, Berlin 5028-1877 and 300-73, state iv/v, and BNE INVENT/41168, state v/v, as recorded in Takahatake 2011).

Though Ugo cut and first published David and Goliath in Rome, there is new evidence to show that he reprinted these blocks in Parmigianino's Bolognese workshop, where he produced Diogenes sometime between 1527 and 1530 and where Antonio da Trento was also employed. Third state impressions of David and Goliath share similar palettes and printing practices with his Diogenes and with Antonio's Martyrdom of Two Saints: for example, an impression of David and Goliath in Frankfurt is printed in similar inks and in the same nonconventional order of darkest to lightest (gray, medium blue, light blue; Städel 33920), as is a Martyrdom of Two Saints impression in Amsterdam (Rijksmuseum RP-P-OB-31.276). The proximity of Ugo and Antonio's activity in Bologna is further elucidated by the shared late publishing history of these two woodcuts. A posthumous fourth state impression of David and Goliath has on its verso an offset of the mid-tone block of Martyrdom of Two Saints, indicating that the blocks for both compositions were in the hands of the same late publisher. In this fourth state, the publisher must have removed Ugo's name from the block in order to signal this change of block ownership. These fourth state printings were issued sometime before the 1560s or 1570s, when an impression was acquired for the collection of Philip II at the Escorial.

Naoko Takahatake, The Chiaroscuro Woodcut in Renaissance Italy, exhibition catalogue, Los Angeles County Museum of Art, June-September 2018, National Gallery of Art, Washington D.C, October 2018-January 2019, DelMonico Books/Prestel, Munich-London-New York, 2018, pp. 93-94.

Other impressions of state i/v:
-BnF Réserve EA 39
-Budapest 6139: http://printsanddrawings.hu/search/prints/6139/
-Munich 6702
-MFA Boston 64.1024: light green/green/gray (wmk: anchor in a circle) (possibly state ii?) https://collections.mfa.org/objects/168168/david-beheading-goliath
-Albertina DG 2002/273: gray/blue/black: NB this may be state ii/v (extensive penwork at bottom of sheet) https://sammlungenonline.albertina.at/m?queryid=717cde37-3b1d-432e-83eb-fd5575b0e575
-PMA 1985-52-2193: https://www.philamuseum.org/collections/permanent/30076.html

Impression of state ii/v:
-MMA 17.4.10: grays/black https://www.metmuseum.org/art/collection/search/633683
-Berlin 277-384356: grays (wmk:siren in a circle)
-Ashmolean WA 1863.1690: gray/green/black https://collections.ashmolean.org/object/291900
-Chatsworth IV, fol. 9, no. 11: gray/dark gray/black
-ETH D.43: light brown/brown/black https://doi.org/10.16903/ethz-grs-D_000043
-Albertina DG2002/270: light gray/gray/black https://sammlungenonline.albertina.at/m?queryid=1be50807-b71a-4f26-8258-c8060df0e67b
-Long Collection (Barryte 49): gray/dark gray/black
-Ashmolean WA 1863.1691: gray-green/black (variant from 2 blocks; wmk siren in circle) https://collections.ashmolean.org/object/291901
-BM 1858,0417.1572: gray-green/black (variant from 2 blocks; wmk siren in circle) https://www.britishmuseum.org/collection/object/P_1858-0417-1572

Impressions of state iii/v
-Grunwald light blue/blue/black
-MMA 22.73.3-18: light green/green/black https://www.metmuseum.org/art/collection/search/632712
-MFA Boston 64.1025: light green/green/black https://collections.mfa.org/objects/168172/david-beheading-goliath
-MFA M20379: blue/blue/gray https://collections.mfa.org/objects/109666/david-beheading-goliath
-Escorial 28-II-2, fol 21 recto: ocher/olive/black
-Frankfurt 33920: light blue/blue/black
-Paris Rothschild 4382: beige/green/black
-NGA 1943.12.6: olive/blue-green/gray-black
-MFA 1921.10604: light brown/green/black (wmk: Crescent in a circle) https://collections.mfa.org/objects/4366/david-beheading-goliath
-MMA 17.50.3: light brown/green/black https://www.metmuseum.org/art/collection/search/633682
-PMA 1950-69-5: gray/green/black https://www.philamuseum.org/collections/permanent/52006.html
-PMA 1985-52-323: light brown/green/black https://www.philamuseum.org/collections/permanent/30077.html
-Albertina DG2002/272: ocher/olive/black https://sammlungenonline.albertina.at/m?queryid=daa364b8-8f02-4c39-8035-701fe55fe279

Impressions of state iv/v:
-Escorial 28-1-19 fol 110: yellow ocher/brown/black
-MFA Boston P1677: yellow/green/black https://collections.mfa.org/objects/109671/david-beheading-goliath
-BNF Réserve EA 39: light brown/brown/black
-Marucelliana III, 61: greens/black (possibly state v/v)
-LACMA M.88.91.167: light brown/brown/black https://collections.lacma.org/node/171131
-Albertina DG2002/271: light brown/brown/black https://sammlungenonline.albertina.at/m?queryid=6a507d37-ca29-4ff4-a1af-99212c3b34df
-PMA 1985-52-62: light olive/olive/black https://www.philamuseum.org/collections/permanent/30079.html
-BM 1868.0612.2: light olive/olive/black https://www.britishmuseum.org/collection/object/P_1868-0612-2
-Fondation Custodia inv 6488
-Rijksmuseum RP-P-OB-31.010: light brown/brown/dark brown http://hdl.handle.net/10934/RM0001.COLLECT.51191
-Rijksmuseum RP-P-OB-31.011: light brown/brown/black http://hdl.handle.net/10934/RM0001.COLLECT.51192
-Rijksmuseum RP-P-OB-31.012: light brown/brown/black http://hdl.handle.net/10934/RM0001.COLLECT.51194

Impressions of state v/v:
-Munich 4124: blue/dark blue/black
-BNE 41168: light brown/borwn/black http://bdh.bne.es/bnesearch/detalle/bdh0000167160
-Braunschweig I.XVI.1: light green/green/black

Impressions of uncertain state:
-V&A 28957A: blue/dark blue/black (late)
-NMAH 20934: brown-gray/gray/black (wmk: hand and flower)
-BNE Madrid 44260: light brown/brown/black
-MFA M9539: https://collections.mfa.org/objects/375083/david-beheading-goliath
-MMA 22.73.3-17: https://www.metmuseum.org/art/collection/search/632727
-MMA 17.50.20: https://www.metmuseum.org/art/collection/search/405900
-PMA 1985-52-1839 [check state and if variant?] https://www.philamuseum.org/collections/permanent/30078.html
-Rijksmuseum RP-P-OB-31.009 http://hdl.handle.net/10934/RM0001.COLLECT.51175


tipologia: fotografia digitale
ente proprietario: Windsor, Royal Collection Trust ©


Bartsch A., Le peintre graveur, Vienne, 1803-1821, v. XII, p. 26, n. 8


, Chiaroscuro woodcuts from the Frits Lugt Collection in Paris, Tokyo, 2005, pp. 39–40, n. 13 (Hinterding E.)
Takahatake N., "Niccolò Vicentino's Miraculous Draught of Fishes", in Print Quarterly, London, 2011, XVIII, 2011, 3, pp. 256-260, p. 260, n. 24
Takahatake N., "Raphael and the chiaroscuro woodcut", Raffael als Zeichner. Die Beiträge des Frankfurter Kolloquiums, 2015, pp. 167-186, pp. 167-168
Takahatake N., The Chiaroscuro Woodcut in Renaissance Italy, Los Angeles, 2018, pp. 93-94, n. 19 (Takahatake N.), p. 93 


Chiaroscuro Woodcut in Renaissance Italy Los Angeles County Museum of Art, Los Angeles, CA., June - September 2018 National Gallery of Art, Washington, D.C., October 2018 - January 2019, 2018-2019


Takahatake N., 2020
Takahatake N., Atlante delle xilografie italiane del Rinascimento, ALU.0945.1, https://archivi.cini.it/storiaarte/detail/46170/stampa-46170.html, ISBN 978-88-96445-24-2
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