definizione: stampa

identificazione: OLIMPO

titolo parallelo: Olympus (Surprise)

titolo: Sorpresa

New York, Metropolitan Museum of Art, Department of Drawings and Prints

, Collezione Harris Brisbane Dick (Lugt 1289, 1297)

data uscita: 1939

sec. XVI, secondo quarto

1540 ca. - 1549 ca.

• Mazzola Francesco detto il Parmigianino (1503 -1540) (inventore)

  vedi scheda autore

• Niccolò Vicentino (1510 ca./ post 1566) (incisore)

  vedi scheda autore

Niccolò Vicentino, 1510 ca./ post 1566 (bottega)

Veneto

xilografia; chiaroscuro; mm 272 x 188 ca.

materia del supporto: carta

buono

Chiaroscuro woodcut from 3 blocks, blue/dark blue/black (state iii/vi)

state i/vi: horizontal line in the mid-tone block above the uppermost highlight in the swell of Olympus's drapery (MMA 33.13(16): olive/brown-olive/black [vedrigris])
state ii/vi: horizontal line removed from mid-tone block
state iii/vi: oval frame in
the darkest block is interrupted in its right half (this impression)
state iv/vi: mid-tone block along the lower right edge of the oval composition; darkest block along the oval frame removed (MMA 1983.1195: mustard/brown/black)
state v/vi (issued by Andreani): losses in mid-block oval frame plugged (Achenbach 1968.13.2)
state vi/vi (issued by Andreani): “AA” cut in the light tone block in the lower left corner (BM 1874,0808.208)

See comment in ALU.1000.1

Other impressions issued by the Vicentino Workshop:

-MFA 64.1130: orange-lime/green/black (state iii/vi) https://collections.mfa.org/objects/167945/surprise
-BNF Réserve EA 39: red/medium red/black
-BnF BD 51: light blue/blue/black
-Harvard G7487: olive/brown-olive/black https://hvrd.art/o/273156
-MMA 33.13(16): olive/brown-olive/black https://www.metmuseum.org/art/collection/search/632809
-MMA 1983.1195: mustard/brown/black https://www.metmuseum.org/art/collection/search/632805
-PMA 1985-52-206 (possibly state ii/vi?) https://www.philamuseum.org/collections/permanent/30033.html?mulR=969577564|1
-BM 1874,0808.207: lime/green/black https://www.britishmuseum.org/collection/object/P_1874-0808-207
-BM 1860,0414.117: red/medium red/black (state iv/vi) https://www.britishmuseum.org/collection/object/P_1860-0414-117
-Albertina DG2002/541: lime/green/black (state iii/vi) https://sammlungenonline.albertina.at/m?queryid=28301387-3d74-452e-bda8-abd7ff2c1886
-Albertina DG 2002/539: light brown/brown/black (state iv/vi) https://sammlungenonline.albertina.at/m?queryid=4ce2cdca-9447-4b66-9791-0903f8d6ae51
-Baselitz (Gnann 2013, no. 50): orange-lime/green/black (state iii/vi)
-Fondation Custodia inv 2958c: light red/red/black (state ii/vi)
-Berlin 580-1895: red/medium red/black

Impressions issued by the Ladder in a Shield Printer in brown/medium brown/dark brown/black (state iv/vi):

-Achenbach 2011.69.3 https://art.famsf.org/ugo-da-carpi/surprise-2011693
-MFA P1699 https://collections.mfa.org/objects/109735/surprise
-Munich 12146
-V&A E.293-1890
-BnF BD 5A

tipologia: fotografia digitale

ente proprietario: New York, Metropolitan Museum of Art ©

Bartsch A., Le peintre graveur, Vienne, 1803-1821, v. XII, p. 146, n. 10

Oberhuber K., Parmigianino und sein Kreis: Zeichnungen und Druckgraphik aus eigenem Besitz, Wien, 1963, p. 41, n. 94

Wiles B.H., "Two Parmigianino drawings from the Aeneid", Museum studies. The Art Institute of Chicago, 1966, pp. 96-111, pp. 96–100

Popham A.E., Catalogue of the drawings of Parmigianino, New Haven, 1971, v. 1, p. 124, n. 319, v. 2, tav. 131

Wyss E., The myth of Apollo and Marsyas in the art of the Italian Renaissance. An inquiry into the meaning of images, Newark, 1996, pp. 100–108

Bambach C./ Chapman H./ Clayton M., Correggio and Parmigianino master draughtsmen of the Renaissance, London, 2000, p. 123, n. 78 (Bambach C.)

Galassi M., "Visual Evidence for the Use of Carta Lucida in the Italian Renaissance Workshop", The Renaissance Workshop. The Materials and Techniques of Renaissance Art, London, 2013, pp. 130-137, pp. 130-137

Gnann A., In Farbe! Clair-obscur-Holzschnitte der Renaissance - Meisterwerke aus der Sammlung Georg Baselitz und der Albertina in Wien, Monaco, 2013, p. 132, n. 50

Stiber Morenus L., "The chiaroscuro woodcut printmaking of Ugo da Carpi, Antonio da Trento and Niccolò Vicentino: technique in relation to artistic style", Printing colour 1400 - 1700, Leiden, 2015, 123-139, pp. 134–135, tav. 11.1

Johnson J., "Linking chiaroscuro woodcuts through physical features", Myth, Allegory and Faith. The Kirk Edward Long Collection of Mannerist Prints, Cinisello Balsamo, 2015, pp. 137-159, pp. 153–156

Jenkins C., Prints at the court of Fontainebleau, c. 1542-47, Ouderkerk aan den IJssel, 2017, v. 1, pp. 72-74

Takahatake N., The Chiaroscuro Woodcut in Renaissance Italy, Los Angeles, 2018, pp. 136-139 (Takahatake N.), fig. 47 
https://www.thelacmastore.org/products/the-chiaroscuro-woodcut-in-renaissance-italy?_pos=1&_sid=ce2a0cc2a&_ss=r

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.1001.1, https://archivi.cini.it/storiaarte/detail/49700/stampa-49700.html