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Plate 1: a monument with statues and a coat of arms in the center, a draughstman on the ground beneath a tree to right, two groups of lovers to left in the background, from 'Various landscapes' (Divers paysages)
Plate 4: two pilgrims observing ruins to right, one pointing towards the right, a shepherd and a herd of cattle in center background, from 'Various landscapes' (Divers paysages)
Plate 4: two pilgrims observing ruins to right, one pointing towards the right, a shepherd and a herd of cattle in center background, from 'Various landscapes' (Divers paysages)
Plate 1: Saturn; statue of the nude god standing on a socle, holding a scythe in his right hand and a child in his left; from 'Statues of Roman Gods' after Jacques Jonghelinck
Plate 8: A the bow of a galley at left and another galley at right, seen from behind, two rowboats in center, a hill with a fortress in the background, from 'Various landscapes' (Divers paysages)
Plate 8: A the bow of a galley at left and another galley at right, seen from behind, two rowboats in center, a hill with a fortress in the background, from 'Various landscapes' (Divers paysages)
Frontispiece for 'The Cypress Forest' (La selva di cipressi): two putti hold a tapestry in center, a forest of cypress trees and statues below, a skull and bones on the ground
Plate 1: various fragments of ancient monuments, a round composition, from 'Roman landscapes and ruins' (Paysages et ruines de Rome)
Plate 7: various boats on shore to left, a man carrying a bag, seen from behind and walking towards the background, a fortress in center background, a tree to the right, from 'Various landscapes' (Divers paysages)
Plate 1: a monument with statues and a coat of arms in the center, a draughstman on the ground beneath a tree to right, two groups of lovers to left in the background, from 'Various landscapes' (Divers paysages)
Summary
Picryl description: Public domain image of a fountain, historic landmark, classical or neoclassical architecture, free to use, no copyright restrictions.
Florentine artist Stefano Della Bella was among the best etchers of the Italian Baroque. He created about 1,050 prints and thousands of drawings. His earlier work was greatly influenced by the French Jacques Callot (1592-1635) who worked for the court of the Medici. Three of Stefano’s older brothers were artists. Della Bella probably learned etching from Remigio Cantagallina (1582/3-1656), who had been Callot’s teacher. Della Bella’s earliest prints date from around 1627. Della Bella received the patronage and a stipend from Lorenzo de’ Medici and studied in Rome. In 1639 he journeyed to Paris where Della Bella collected prints by Northern European artists, copied works by Rembrandt. He received commissions from Cardinals Richelieu and Mazarin. His prints were innovative, seeming to look forward to the Rococo. Della Bella also engraved views of Paris. He visited Amsterdam in 1647. French anti-Italian feeling during the Fronde and the death of Mazarin during the late 1640s led to della Bella’s return to Florence. Della Bella produced some of his best work after his return. Della Bella is known to have illustrated some discoveries for Galileo and depicted Hansken the famous elephant, when dead. In his final years, he produced a number of prints experimenting with tonal effects attempting to achieve drawing effects in etching. In 1661 he appears to have suffered a stroke, after which he produced little work.
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