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| PC
37
Stefano della Bella (Italian, 1610-64) Double Frieze Ornament Etching, c. 1640s |
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PC
37
Stefano della Bella (Italian, 1610-64) The Elopement Etching, c. 1650 |
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| Stefano
was the son of a goldsmith, and, although his father died when he was only
two, he nevertheless followed in his father's footsteps and was apprenticed
to a goldsmith. Stefano accidentally found some prints by Jacques Callot,
which he copied, and then studied printmaking with Callot's former teacher,
Remigio Cantagallina. Callot was a major influence on Stefano throughout
his career, but especially in his earlier prints. Stefano worked mainly
in Florence until 1639, where his most important patrons were the Medici
family.
He spent the next decade in Paris where he was known as Etienne de la Belle. It was in Paris that he produced most of his work and had his greatest following. Among his important patrons in Paris were King Louis XIII and Cardinal Richelieu. During this period he did prints ranging from landscapes and animals to frontispieces and illustrations of theatrical productions. Interestingly, only twenty-eight of his prints dealt with religious themes. He also did many ornamental friezes, including the one in the Wake Forest Collection. These ornamental prints often included animals or mythological figures. The other Wake Forest print The Elopement was also done in Paris, probably as a trial piece for a book illustration. The scene is from the story of Clovis and Clotilde. Clotilde rescued Clovis from imprisonment, and Clotilde later converted him to Christianity. Clovis became the first Christian king of France. This particular print shows Clovis carrying Clotilde away after their marriage. It has been said that Stefano excelled at shading, exquisitely small details, and the rendering of fur and feathers. All of these elements can be seen in this print, particularly the shading and the hair of the horses. Stefano left Paris in 1649 to return to Florence, and Medici patronage, where he remained for the rest of his life. He did, however, continue to send his prints and plates to Paris where they were still in great demand. Besides being a talented printmaker, Stefano also had an extensive collection of prints by other artists, including some by Rembrandt. It is believed that the two met in Amsterdam and Rembrandt became an influence on Stefano's work .Throughout his career Stefano kept several sketchbooks, some of which we still have today. It is not known whether he did any paintings; if he did, none have survived. At the end of his life he began experimenting with new techniques including one in which he brushed dilute acid directly onto the plate. The result looked much like aquatint, although the technique had not yet been invented. At the time of his death in July, 1664, Stefano della Bella had executed over 1400 etchings. David Ezra (Spring 1997) References:
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