Steel Engraving. Plieno Graviura. 50 x 40 cm. (52 x 42 x 3 cm.)<\/p>\n","protected":false},"excerpt":{"rendered":"
Burino graviruotojas Antonio Dalc\u00f2 mok\u0117si Parmos akademijoje pas Paolo Toschi ir Antonio Isac. Jis \u017einomas d\u0117l savo religini\u0173 dalyk\u0173 ir plok\u0161\u010di\u0173, paimt\u0173 i\u0161 Kored\u017eo fresk\u0173. Baig\u0119s pie\u0161imo ir graviravimo studijas Parmos dail\u0117s akademijoje, jis specializavosi pastarojoje technikoje, vadovaujamas Paolo Toschi, perimdamas jos stili\u0173, pa\u017eenklint\u0105 neoklasikinio grie\u017etumo ir \u012fstojo \u012f Isac-Toschi studij\u0105. Jo veikla rei\u0161k\u0117si \u012fvairiomis kryptimis: portret\u0173 (Leo XII, grafo Stefano Sanvitale portretai, archeologo Ennio Quirino Visconti, gydytojo Giovanni Rasori portretai), senov\u0117s persona\u017e\u0173 (Scipione, Licurgo ir kt.) vaizdavimu, religini\u0173 tem\u0173 ( Did\u017eiul\u0117 J\u0117zaus, S. Ilario, S. Luigi Gonzagos ir kt. meil\u0117) ir vis\u0173 pirma garsi\u0173 paveiksl\u0173 atk\u016brimas. Kai Carlo Alberto di Savoia Turino galerijai padovanojo Rafaeliui priskirt\u0105 Madonna della Tenda (Galleria Sabauda, \u200b\u200b\u200b\u200binv. 146), D. i\u0161rai\u017e\u0117 pie\u0161in\u012f, paimt\u0105 i\u0161 Toschi (1832).\u00a0 Visada kartu su Toschi, nuo 1837 m. dalyvavo toskanos did\u017eiojo kunigaik\u0161\u010dio Leopoldo II (L’Imperiale e Reale Galleria de’ Pitti, iliustravo Luigi Bardi, Florencija 1837-42) u\u017esakymu Pitti galerijoje. Tarp jo reprodukcij\u0173 ypa\u010d verta pamin\u0117ti: Raffaello \u201eMadonna del Granduca\u201c, Botticelli \u201eMadona ir vaikas su penkiais angelais\u201c, Andrea del Sarto \u201eSalvator Mundi\u201c (1833), Kristus ant kry\u017eiaus i\u0161 Alessandro Allori pie\u0161inio, \u201eKristus ant\u201c Gvido Renio kry\u017eius (1839). Kaip reprodukcijos k\u016br\u0117jas nuo 1839 m. dalyvavo did\u017eiul\u0117je Toschi sumanytoje ir Maria Luigia finansuotoje \u012fmon\u0117je, skirtoje Correggio atlikt\u0173 fresk\u0173 cikl\u0173 gravi\u016br\u0173 vertimui S. Paolo abat\u0117s kameroje S. D\u017eovanyje. ir Parmos katedroje. Po Toschi ir Carlo Raimondi D. buvo tas, kuris i\u0161graviravo daugiausiai lenteli\u0173, i\u0161 viso dvylika \u0161ak\u0173. I\u0161 S. Paolo abat\u0117s kameros fresk\u0173 i\u0161vesta penki\u0173 ovacij\u0173 serija (Putti su trimis malon\u0117mis, Put\u0117 su Fort\u016bna, Put\u0117 su Adonisu, Put\u0117 su Junonu nubausta, Put\u0117 su Cerera) ir kameros sekcija; i\u0161 S. Giovanni fresk\u0173: Gelb\u0117tojas \u0161lov\u0117je, S. Giovanni ir s. Augustino, \u0160v.Petro ir \u0160v. Paolo, lunet\u0117 su S. Giovannino, Putti; nuo katedros kupolo, S. Ilario (permacchio). Paskirtas Parmos dail\u0117s akademijos profesoriumi, jis taip pat tapo tarybos nariu, turin\u010diu balsavimo teis\u0119. Galiausiai, prie did\u017eiul\u0117s ir kvalifikuotos jo produkcijos turime \u012ftraukti Franzo Holbeino (Parma, Nacionalin\u0117 galerija) sukurt\u0105 Erazmo Roterdamie\u010dio portret\u0105 ir puikiai meistri\u0161kai sukurt\u0105 Francesco Francia \u017evaig\u017ed\u0117s Madon\u0105, kuri\u0105 gravi\u016bra skyr\u0117 Luisa Maria di Borbone. ir d\u0117l to 1858 m. jis peln\u0117 \u201edid\u017eiausi\u0105 premij\u0105 u\u017e vario rai\u017eym\u0105\u201c i\u0161 Florencijos dail\u0117s akademijos\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0Burin engraver, Antonio Dalc\u00f2 studied with Paolo Toschi and Antonio Isac at the Parma Academy. He is known for his religious subjects and for the slabs taken from Correggio’s frescoes. After studying drawing and engraving at the Parma Academy of Fine Arts, he specialized in the latter technique under the guidance of Paolo Toschi, absorbing its style marked by neoclassical rigor and entering the Isac-Toschi studio.His activity was expressed in various directions: portraiture (portraits of Leo XII, of Count Stefano Sanvitale, of the archaeologist Ennio Quirino Visconti, of the doctor Giovanni Rasori), the depiction of ancient characters (Scipione, Licurgo, etc.) religious subjects (The immense love of Jesus, S. Ilario, S. Luigi Gonzaga, etc.) and above all the reproduction of famous paintings. When Carlo Alberto di Savoia donated the Madonna della Tenda attributed to Raphael (Galleria Sabauda, inv. 146) to the Turin Gallery, the D. carved the drawing taken from Toschi (1832). Always together with Toschi, from 1837 he participated in the reproduction of the works in the Pitti Gallery, commissioned by the Grand Duke of Tuscany Leopold II (L’Imperiale e Reale Galleria de’ Pitti illustrated by Luigi Bardi, Florence 1837-42). Among his reproductions are particularly noteworthy: the Madonna del Granduca by Raffaello, the Madonna and Child with five angels by Botticelli, the Salvator Mundi by Andrea del Sarto (1833), the Christ on the cross from a drawing by Alessandro Allori, the Christ on the cross by Guido Reni (1839). As a reproductionist, from 1839 he took part in the great enterprise, conceived by Toschi and financed by Maria Luigia, of the engraving translation of the cycles of frescoes executed by Correggio in the chamber of the abbess of S. Paolo, in S. Giovanni and in the cathedral of Parma. After Toschi and Carlo Raimondi, the D. was the one who engraved the largest number of tables, twelve branches in all. From the frescoes of the chamber of the abbess of S. Paolo derives a series of five ovates (Putti with the three Graces, Putti with Fortuna, Putti with Adonis, Putti with Juno punished, Putti with Ceres) and the section of the chamber; from the frescoes of S. Giovanni: The Savior in Glory, S. Giovanni and s. Augustine, St. Peter and St. Paolo, lunette with S. Giovannino, Putti; from the dome of the cathedral, S. Ilario (permacchio). Appointed professor at the Parma Academy of Fine Arts, he also became a councilor with the right to vote. Finally, among his vast and qualified production we must include the portrait of Erasmus of Rotterdam by Franz Holbein (Parma, National Gallery) and that Madonna of the star by Francesco Francia, created with great skill, which the engraver dedicated to Luisa Maria di Borbone and which in 1858 earned him the “highest prize for copper carving” from the Academy of Fine Arts in Florence.<\/p>\n","protected":false},"featured_media":13843,"template":"","meta":[],"product_cat":[79],"product_tag":[],"class_list":["post-15665","product","type-product","status-publish","has-post-thumbnail","hentry","product_cat-paintings"],"yoast_head":"\n