Francesco Bartolozzi

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Lemuel Francis Abbott, Portrait of Francesco Bartolozzi. Tate, London.
A detail of one of Bartolozzi's prints, showing the tonal effects of the technique of stipple engraving, in which he was an expert
Queen Charlotte painted by William Beechey, engraved by Francesco Bartolozzi.
Bartolozzi's engraving of Lady Meutas after Holbein.

Francesco Bartolozzi RA (Florence, 21 September 1727 – 7 March 1815, Lisbon) was an Italian engraver, whose most productive period was spent in London.

Life[edit]

Bartolozzi was born in Florence. He was originally destined to follow the profession of his father, a gold- and silver-smith, but he manifested so much skill and taste in designing that he was placed under the supervision of two Florentine artists, including Ignazio Hugford and Giovanni Domenico Ferretti who instructed him in painting. After devoting three years to that art, he went to Venice and studied engraving. He particularly admired the work of Joseph Wagner.[1] His first productions in Venice were plates in the style of Marco Ricci, Zuccarelli, and others, while working for Wagner, which began to draw attention. He then moved for a short time to Rome, where he completed a set of engravings representing frescoes at Grottaferrata by Domenichino depicting the life of St Nilus. He soon returned to Venice and left for London in 1764.

He lived in London for nearly forty years. He produced an enormous number of engravings, including Clytie after Annibale Carracci, and of the Virgin and Child, after Carlo Dolci. A large proportion of them are from the works of Cipriani and Angelica Kauffman. Bartolozzi also contributed a number of plates to Boydell's Shakespeare Gallery. He also drew sketches of his own in red chalk. Soon after arriving in London, he was appointed 'Engraver to the King' with an annual salary of £300. He was elected a founding member of the Royal Academy in 1768, and in 1802 became the founding President of the short-lived Society of Engravers.

Bartolozzi was not the inventor of the so-called crayon manner of engraving, which imitated the subtleties of chalk drawings, but he made it the fashion.

In 1802, Bartolozzi accepted the post of director of the National Academy of Lisbon, the city where he died. His son Gaetano Stefano Bartolozzi, born in 1757, was also an engraver, and the father of Madame Vestris.

Works[edit]

Ticozzi and Bryan both published lists of his output, including:

Original etchings[edit]

  • Abraham and the Angels.
  • The Miracle of the Manna.
  • Job abandoned by his Friends.
  • Charity, an oval; inscribed Ipse feci .
  • The Origin of Painting (1787).
  • The Virgin and Infant; (circular).

Etchings after masterworks[edit]

Etchings after Cipriani[edit]

  • The Parting of Achilles and Briseis.
  • Hector takes leave of Andromache.
  • Chryseis restored to her Father.
  • The Death of Dido.
  • Jupiter and Juno on Mount Ida.
  • Venus presenting the Cestus to Juno.
  • Venus attired by the Graces .
  • Tancred and Herminia and Tancred and Clorinda.
  • Shakespeare crowned by Immortality

Engravings after Angelica Kauffman[edit]

  • Socrates in Prison.
  • Penelope lamenting Ulysses.
  • Telemachus and Mentor in the Isle of Calypso.
  • Paulus Emilias educating his Children.
  • Coriolanus appeased by his Family
  • The Beautiful Rhodope in love with Aesope (1780s, inscription: From an original painting of the same size by Signora Angelica Kauffman. In the possession of Charles Boddam sun Esqv.)

Others[edit]

Notes[edit]

  1. ^ Ticozzi, p117.
  2. ^ Lord Mansfield (after Sir Joshua Reynolds), 1786.
  3. ^ Mary, Queen of Scots, with her Little Son James I (after Zuccaro), 1779.

References[edit]

External links[edit]