Details about Jan DE BISSCHOP ESPISCOPIUS 1628-71 Paradigmata Graphices Maarten van HeemskerckSee original listing
24 Apr, 2013 20:31:14 BST
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The Hague, Netherlands
|Self-Representing Artist?:||No||Medium:||Etching/ Engraving|
|Original/ Repro:||Original||Etching/ Engraving Type:||Line|
|Signed?:||Signed||Subject:||People & Portraits|
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draped female statues, arranged in two horizontal rows, the top row comprising
three complete statues, the bottom row four views of three fragmentary ones without heads
By Jan de
Bisschop, also known as Johannes Episcopius
was a lawyer, who became a Dutch Golden Age painter and engraver.
According to the RKD he learned to draw from
Bartholomeus Breenbergh, and he influenced
in his turn Jacob van der Ulft. Both Ulft and Bisschop were born into good families and were examples of painters
who practised art more for pleasure than for a living. Bisschop was a founding
member of the Confrerie Pictura
and produced two books in the 1670s meant as instructional material for young artists. These were based on
his own copies from classical artists, but also copies from the Rome-traveller, Pieter Donker. One was 112 prints
that was produced in the years 1668-1669 as the Signorum Veterum Icones (Dutch title: Afbeeldingen van antieke beelden),
and the other
was printed in 1671 as Paradigmata Graphices variorum Artificum (Dutch title:
Teken-Konst van verscheyde Meesters).
According to Houbraken he was a lawyer for the
Dutch court, and did a great service to the arts with his instructional
drawings copied from the artists Tintoretto, Jacopo Bassano, Annibale Carracci (Karats), Paolo Veronese, Rubens, and Anthony van Dyck.
(Source : Wikipedia)
After intermediary drawings by Maarten van
Heemskerck or Marten Jacobsz Heemskerk van Veen (1 June 1498 – 1 October 1574),
Dutch portrait and religious painter, known for his depictions of the Seven Wonders of the World.
Etching on white laid paper,
with a watermark representing the coat of arms of Amsterdam.
(Contrast emphasized to make the watermark visible)
Signed in the plate with the artist’s Latin monogram, JE, for Johannes Episcopius.
Lettering in lower left corner of the image: Heemskerk ex marmore antiq
For the intermediary draughtsman Maarten van Heemskerck
Sheet: approx. 310 mm x 207 mm
Platemark and image: approx. 220 mm x 130 mm
Condition: As it is, several signs of age, to be expected for a print this old, please see scans and note:
Important vertical crease on the left side,
where all pages were bound. The print can easily be re centred,
but it would make it difficult to be used to restore a more complete version of Paradigmata graphices variorum artificum.
Along this vertical crease: some tears, yellowing, and in the reverse remains of glue in the reverse.
Otherwise wide margins, deep platemark, plain white reverse.
Origin: Paradigmata graphices variorum artificum, plate 36.
Most probably from the 1st edition, The Hague, 1671
(The print came as a part of the remains of a
copy from the first edition,
according to the frontpiece page, also present, see scan below)
Bisschop’s Paradigmata Graphices have played an
important role in late 17th century Dutch art,
as it provided artists with excellent examples and models: "[De Bisschop] certainly depended o
n drawings by other artists, as well as the illustrations from
François Perrier’s ‘Icones’ (Paris, 1645) for his two
influential series of prints in book form, the ‘Signorum veterum icones’ (1668-9), with 100 prints after classical sculptures,
dedicated to Johannes Wtenbogaard and
Constantijn Huygens, and the ‘Paradigmata graphices variorum artificum’ (1671), with prints after old master
drawings and dedicated to Jan Six. Some of the classical sculptures reproduced in de Bisschop’s ‘Icones’ were
seventeenth-century collections of Gerrit Uylenburgh and Hendrik Scholten,to
which de Bisschop had
direct access; most of the old master drawings in the
‘Paradigmata’ were based on works by Italians: Annibale Carracci,
Francesco Salviati, Cavaliere d’Arpino, Giulio Romano and others. The sequence
of the ‘Icones’ adhered
strictly to the classical tradition: first the individual parts of the body were illustrated (this section was left unfinished
at de Bisschop’s premature death), then complete figures, followed by poses and
suggestions for compositions with more
than one figure. The prints were
intended to provide artists with examples of ideal poses. From the paintings of
van der Werrff and Nicolaes Verkolje, it is clear just how influential
these studies were in the development of Dutch
classical painting during the late 17th century" (Ger Luijten)
Note by the British Museum’s curator about the plate:
“Two different drawings by van Heemskerck most probably served as the immediate models for the statues on the
lower row of the
etching. The arrangement was de Bisschop's own. No intermediary drawings by De
come to light. According to Van Gelder the second figure in the top row is the Roman more than life-size statue in the
Boboli Gardens in Florence
in reverse. The third figure on the top row was traditionnally identified as a
the 'Artemis Brauronia' by Praxiteles (this identification is now
debated). This could perhaps be the replica now in
the Galleria Doria Pamphilj in Rome. The first figure from the left on the lower row, is most probably the 'Cesi Semele'
in an unrestored state, now in the Museo Capitolino in Rome. The etching shows the statue in reverse with both the
hands and the head missing.
De Bisschop's immediate prototype was probably the figure on the left in Van
drawing with 'Three female statues' in the 'Berlin Sketchbook' (I,
fol. 33 recto). The third statue from the right is thought
to be a Roman copy
of a prototype which may have belonged to a group of Muses, attributed to
Philiskos of Rhodos ans
dated to the second century B.C. Van Gelder believes the etching to be after a drawing by Melchior Lorck, now in the
Printroom. The last figure from the left on the bottom row is also believed to
be after the 'Three female statues'
by Van Heemskerck in the 'Berlin Sketchbook' (I, fol. 33 recto).”