caccia.chasse.hunting.jagd EBERBACH HEIDELBERG POLYGRAPHICUM catalogues & sales POLYGRAFICUM STEFANO DELLA BELLA Wildschwein flüchtig acquaforte.aguafuerte.akwaforta.eau-forte.etching.ets.radierung

caccia.chasse.hunting.jagd

EBERBACH HEIDELBERG

POLYGRAPHICUM catalogues & sales POLYGRAFICUM

STEFANO DELLA BELLA

Wildschwein flüchtig

acquaforte.aguafuerte.akwaforta.eau-forte.etching.ets.radierung

Jäger als Gejagte

Grisaille

1800

HEIDELGOOG

paula von pückler

HAMBURGER KUNSTHALLE

 

Von der Schönheit der Linie

Stefano della Bella als Zeichner

25. Oktober 2013 bis 26. Januar 2014
Kuppelsaal

Stefano della Bella (1610 – 1664), Sechs Frauen als Allegorien der Wissenschaften (Vorzeichnung für das Thesenblatt mit Wappen der Medici), 1650er Jahre, Feder in Braun über schwarzem Stift, grau laviert, 184 x 144 mm, © Hamburger Kunsthalle / bpk, Photo: Christoph Irrgang

Stefano della Bella (1610-1664) zählt zu den wichtigsten italienischen Graphikern und Zeichnern des 17. Jahrhunderts. Während sein Radierwerk bereits mehrfach Gegenstand umfangreicher Retrospektiven gewesen ist, fand sein ebenso
qualitätvolles zeichnerisches Œuvre bislang keine vergleichbare Würdigung. Die Ausstellung „Von der Schönheit der Linie" der Hamburger Kunsthalle stellt den Florentiner Zeichner mit gut 100 hochrangigen Werken aus bedeutenden europäischen Sammlungen in all seinen Facetten vor.

Aus della Bellas Biographie sind nur wenige Eckpfeiler bekannt. Lebensstationen in Florenz, Rom und Paris sowie namhafte Auftraggeber wie die Medici und die französischen Könige lassen lediglich erahnen, welche Bedeutung er zu Lebzeiten hatte. Umso mehr erzählt uns sein Werk: Stefano della Bella war wie kaum ein anderer ein wacher Beobachter seiner Zeit. Sein außerordentlich breites Themenspektrum reicht von bedeutenden politischen Ereignissen und den bahnbrechenden Entdeckungen Galileis bis hin zu Theater-Kostümen sowie verblüffenden Entwürfen für Trinkgefäße und Ornamente. Besonders einfühlsam aber widmete sich der Künstler den Menschen in ihrer Alltagswelt.

Stefano della Bellas Zeichnungen feiern die Schönheit der Linie, beeindrucken durch unerschöpfliche Fantasie und bezaubern mit Eleganz und Leichtigkeit. Selbst die kleinsten Formate in dieser Ausstellung ermöglichen faszinierende Entdeckungen. Feine, präzise und doch lockere Federzüge sind das Markenzeichen seiner Zeichnungen. Mit pointierten Lavierungen verleiht der Künstler seinen Blättern Atmosphäre. So entstehen eigenständige Meisterwerke der Zeichenkunst, deren Zauber bis heute zu spüren ist.

Die Ausstellung ist eine Kooperation mit dem Gabinetto Disegni e Stampe degli Uffizi in Florenz, das auch Hauptleihgeber ist. Die weiteren Exponate kommen aus bedeutenden internationalen Sammlungen wie dem Louvre, Paris, dem British Museum, London,  dem Royal Collection Trust, dem Berliner Kupferstichkabinett, dem Istituto
Nazionale per la Grafica, Rom und dem Städel Museum, Frankfurt am Main.

Zur Ausstellung erscheint ein Katalog im Imhof Verlag (296 Seiten mit zahlreichen Abbildungen), erhältlich für 29,80 € in den Museumsshops.

Kurator: Dr. David Klemm

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Hamburger Kunsthalle • Glockengießerwall 5 • 20095 Hamburg • Telefon 040 - 428 131 200 • Telefax 040 - 428 131 884 • E-Mail: info@hamburger-kunsthalle.de

GETTY MUSEUM MALIBU

Design for an Ewer

Stefano della Bella

Dates	1610 - 1664
Roles	Artist
Nationality	Italian

Etcher and draftsman Stefano della Bella worked ceaselessly creating thousands of drawings and prints. Like a devoted photographer intent on capturing the major events of his time, della Bella recorded the lavish theatrical pageants of Florence's nobility, daily life in Rome and Paris, and the battlefield realities of the Thirty Years War.

Della Bella began his career in the studio of a goldsmith, but apart from this early apprenticeship, della Bella was basically self-taught. Before the age of twenty, he had allied himself with the powerful Medici court, which provided him with patronage throughout his career. With the Medici's support, in 1633, della Bella traveled to Rome where he remained until 1639. During these six years, he honed his drawing skills. He largely avoided studios and worked outdoors, recording ancient and modern buildings, the countryside, public spectacles, and the daily activities of the Roman people. Della Bella would later mine his sketchbooks for figures and backgrounds for his prints. Supported by the Floretine ambassador, in 1639, Della Bella relocated to Paris. For the French nobility, della Bella created a diverse range of prints including battle scenes, architecture, and animals. He moved effortlessly between large, topographically precise landscapes and fanciful works commissioned by Parisian dealers. He returned to Florence in 1650 where he again served the Medici court.

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Death carrying a child, from 'The five deaths' (Les cinq Morts)

Series/Portfolio: 'The five deaths' (Les cinq Morts)

Printmaker: Stefano della Bella (Italian, Florence 1610–1664 Florence)

Date: ca. 1648

Medium: Etching; second state of three

Dimensions: Sheet (trimmed within platemark): 7 in. × 5 13/16 in. (17.8 × 14.7 cm)

Classification: Prints

Credit Line: The Elisha Whittelsey Collection, The Elisha Whittelsey Fund, 1959

Accession Number: 59.570.379(3)

Description

Stefano della Bella was one of the most talented and prolific printmakers of the seventeenth century. Unlike most etchers of his time, who had careers as painters, della Bella devoted himself almost exclusively to printmaking, although he is also highly regarded for the spirited drawings he made in preparation for his prints. Despite their higher degree of finish, his etchings retain much of the fluidity and dynamism of his drawings. Late in his career, he experimented with duplicating the tonal washes of his drawings in his prints. Della Bella's etchings are especially admired for their rich textures and atmospheric effects and for the wide range of subject matter depicted in a direct and engaging way. Soldiers, beggars, satyr families, animals, gardens, ruins, splendid festivals, and scenes of everyday life are among the subjects he explored. Della Bella was supported by the Medici for many years, primarily in Florence, but also in Rome, where his patron Lorenzo sponsored a period of study in the mid-1630s. In 1639, the Della Bella traveled to France with the ambassador of the grand duke of Tuscany and remained there for over a decade.
It was probably during his last years in France that Della Bella began an updated version of the Dance of Death. This typically Northern and medieval subject usually showed Death in a variety of situations, carrying away victims of every age and walk of life. While in France Della Bella etched four oval scenes of Death's conquest, including this print (Death Carrying a Child), three of which take place in cemeteries and the fourth on the battlefield. A horizontal version of Death triumphing in war probably also dates to these years. At the end of his life, della Bella took up the theme again, creating three more episodes in the oval format—two of these were left incomplete at his death. In the early prints particularly, Death is as energetic as he is ruthless—here he rushes into the cemetery bearing a screaming and struggling child. The setting is the Cemetery of the Innocents in Paris, a site with which della Bella was undoubtedly familiar, since many publishers and print dealers had their shops on the ground floor of the charnel houses.
The Metropolitan Museum of Art has a preparatory drawing (1983.137) for this etching.

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