Giovanni Benedetto Castiglione, Man Wearing a Small Turban Ornamented with Plumes and Ribbon, Facing Right
Signed Giovanni Benedetto Castiglione , Man Wearing a Small Turban Ornamented with Plumes and Ribbon, Facing Right
|Artist:||Giovanni Benedetto Castiglione (1609 - 1665)|
|Title:||Man Wearing a Small Turban Ornamented with Plumes and Ribbon, Facing Right|
|Image Size:||4 1/4 in x 3 1/4 in (10.8 cm x 8.3 cm)|
|Sheet Size:||4 1/4 in x 3 1/4 in (10.8 cm x 8.3 cm)|
|Framed Size:||18 1/2 in x 17 1/2 in (47 cm x 44.5 cm)|
|Signature:||This work is signed (in monogram) in the plate in the upper right 'G Castiglione Genovese.'|
|Condition:||This piece is in excellent condition.|
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Item # 3335
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Historical Description of this artwork
This original etching is signed (in monogram) in the plate in the upper right 'G Castiglione Genovese.' It is from the first and only state and belongs to the series known as the “Small Studies of Heads in Oriental Headdress.” Unidentified pencil marks on verso; 2 unidentified collectors' stamps on verso stamped over in black and one unidentified collector's stamp 'St K' (not in Lugt) also on verso.
In this work, Castiglione, Rembrandt's light and airy Italian contemporary, offers a stunning portrait of a young man. This small treasure is an illustration of Castiglione's lively handling of the etching needle that produced rich textures and a range of dark tonalities for which he was revered. Castiglione sought to create not only a portrait, but an assessment of his subject's character using the Renaissance science of physiognomy in which the temperament and other characteristic qualities of the mind could be discerned based on a careful inspection of facial features. The soft eyes, strong nose, pursed lips, and prominent chin, are those of the Renaissance ideal, and denoted a much desired balance of intelligence and strength. It is under Castiglione's soft touch that these traits are highlighted rather than merely described. Using a myriad of organized zig zags, scribbles, and cross hatchings, Castiglione summons both the regale facial features and the young man's added ornamentation of a feathered cap adding to the his quiet dignity.
DOCUMENTED AND ILLUSTRATED IN:
1. Bartsch. The Illustrated Bartsch Vol. 46 Part 1. Edited by Paolo Bellini. New York: Abaris Books, 1981. Illustrated as catalogue raisonné no. 33 (28) on pg. 45.
2. Bartsch. The Illustrated Bartsch Vol 46 Part 2. Edited by Paolo Bellini. New York: Abaris Books, 1981. Illustrated as catalogue raisonné no. 33 on pgs. 48-49.
PROVENANCE: Empyraeum Antiquaria – Germany
ABOUT THE FRAMING:
Conservation framed with museum quality archival materials, this work is float mounted in an ornate gold frame. The intricately sculpted moulding with organic arching shapes compliments the linear quality of this work. Coupled with minor antiquing, the bright and fresh gold moulding delicately accentuates darks and light found within the work. Completed with white linen wrapped mattes and a matching gold inner fillet, this work is set behind archival Plexiglas.
What Do I Get With My Purchase?
The Certificate of Authenticity accompanies this work, guaranteeing its authenticity for as long as you own it.
All catalogue raisonné and historical documentation is included with your purchase.
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Artistic Styles of Castiglione
Giovanni Benedetto Castiglione Complete Biography
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Giovanni Benedetto Castiglione Biography
AN ECLECTIC artist who treated a limited number of subjects repeatedly throughout his career, Castiglione brought energy to his paintings, drawings, monotypes, and etchings by virtue of his lively handling of brush, pen, and needle. Baptized in Genoa in i1609, he mined in his native city under minor animal and landscape painters in the 1620s. There he probably also knew oil sketches by Van Dyck and Rubens as wen as Venetian paintings by the Bassano family – works that were lush, warmly colored, and loosely executed. Castighone's nu- merous independent drawings, done in brush and oil pigments, reflect these formative influences.
During most of the 163os the artist was in Rome, where he acquired a taste for classical subject matter, antiquities, and the carfully organized compositions of Poussin, whom he may have known personally. In the 1640s Castiglione returned to Genoa, where he executed a number of important commissions for church altar- pieces, and pagan and pastoral subjects for private collectors. Around 1645 he executed several etchings and repeated some of these compositions in monotypes, a technique he seems to have been responsible, for inventing. These monotypes, executed in white lines scratched out of the ink-coated surface of the plate, are but one expression of Castiglione's interest in strong contrasts of light and dark.
On his return to Rome in 1647, Castiglione brought along his etched plates; beginning in 1640s, he had them published by Giovanni Giacomo de' Rossi. In the prints he made in Rome in about 1650, Castiglione showed careful attention to Rembrandt's etchings of the 1630s, adopting from them the Dutchman's dense, scribbly fines to produce rich textures and a range of dark tonalities. Also in about 1650, Castighone's work took on aspects of the dramatic and emotional Baroque styles of Pietro da Cortona and Gianlorenzo Bernini, then at the height of their careers. His contacts with Pietro Testa and Salvator Rosa date from this time
After 1651 Castiglione moved to Mantua, where he remained in the employ of die ducal court, making occasional visits to Venice and Genoa until his death in about 1665. His last dated etching is from 1655, although a monotype is dated 1660.
Castiglione's some sixty etchings were popular and influential. His most immediate followers were his brother Salvatore, his son Francesco, and the Genoese painter Bartolommeo, Biscaino. In the eighteenth century Castiglione was copied and imitated, and his mysterious, magical elements – turbaned orientals, enchantresses, owls, and monkeys – reappeared in the imaginative works of Giovanni Battista Tiepolo. Castiglione's own plates were reprinted in series several times in the early nineteenth century.
1. For example in J. Kay, A Collection of Original Etchings, London, 1826 (information provided by R. E. Lewis).
See also Bellini 1982; Bellini 1985; New York 1980; and Percy 1977.