{"id":4145,"date":"2012-04-05T16:20:30","date_gmt":"2012-04-05T20:20:30","guid":{"rendered":"http:\/\/blogs.vassar.edu\/rosso\/?page_id=4145"},"modified":"2012-08-20T09:39:07","modified_gmt":"2012-08-20T13:39:07","slug":"e-78-fantuzzi-athena","status":"publish","type":"page","link":"https:\/\/pages.vassar.edu\/rosso\/catalogues\/engravings\/e-78-fantuzzi-athena\/","title":{"rendered":"E.78 Contest of Athena and Poseidon"},"content":{"rendered":"
\"\"<\/a>

E.78 Fantuzzi, Athena and Poseidon<\/p><\/div>\n

Etching by Antonio Fantuzzi, 26.2 x 41.1 S (New York).<\/p>\n

Fig.E.78<\/a> (New York)<\/p>\n

Heinecken, IV, 1790, 533, as Leon Daven after Rosso.\u00a0 Bartsch, XVI, 1818, 402, 68, as Anonymous, School of Fontainebleau, but appears to be by Fantuzzi.\u00a0 Herbet, II, 1896, 277-278 (1969, 73-74), 26, as Fantuzzi after Rosso.\u00a0\u00a0 Zerner, 1969, A.F.32 (New York), as 1542-1543, after Rosso.<\/p>\n

COLLECTIONS: London, 1850-5-27-101.\u00a0 New York, 49.97.589.\u00a0 Paris, Ba 12 (2 impressions, one damaged); Eb 14d; Ed 8b R\u00e9s., Vol. II, no. 25 (stained along bottom).\u00a0 Poughkeepsie, Vassar College, Frances Lehman Loeb Art Center, 86.2 (trimmed on all sides).\u00a0 Vienna, Vol. XIII, 2, p.81, no. 455.<\/p>\n

LITERATURE:<\/p>\n

Mariette, Ab\u00e9c\u00e9dario<\/em>, 1858-1859, as after Rosso, and by the same etcher who did the Death of Adonis<\/em> [E.76].<\/p>\n

Kusenberg, 1931, 164, as Fantuzzi after Rosso.<\/p>\n

Panofsky, 1958, 172, Fig. 55 (wrongly as Boyvin), 176-177, n. 112, as Fantuzzi after Rosso.<\/p>\n

B\u00e9guin, RdA<\/em>, 1969, 105, mentions a partial drawn copy in the Louvre (on which, see below).<\/p>\n

Zerner, 1972, 115, 119, Fig. 181.<\/p>\n

Zerner, in EdF<\/em>, 1972, 265, no. 312, and in Fontainebleau<\/em>, 1973, I, 100, Fig. 74, II, 83, no. 312 (New York), as probably 1542.<\/p>\n

Zerner, IB<\/em>, 33, 1979, 343 (New York).<\/p>\n

Borea, 1980, 261, no. 661 (Paris, Eb 14d), as Fantuzzi from a fresco by Rosso.<\/p>\n

L\u00e9v\u00eaque, 1984, 245, Fig. (New York), as perhaps for the Gallery of Francis I.<\/p>\n

Rubin, 1987, 93-94, Fig. 196, as the model for Salviati\u2019s Conversion of Paul<\/em>, in the chapel in the Cancelleria, Rome.<\/p>\n

Carroll, 1987, 302-304, no. 96, with Fig. (New York).<\/p>\n

Boorsch, in French Renaissance<\/em>, 1994, 238-239, no. 39, Fig. (Paris, Ed 8b, Vol. II), although there is no proof that Rosso\u2019s composition was made for the Gallery of Francis I, it may have been designed for one of the rectangular areas above the roundels of the East Wall, and perhaps for execution in stucco, as space in the composition is very shallow.<\/p>\n

Carroll, 1995, 303, the winged figure female and hence Victory and not a Genius.<\/p>\n

Meyer, 1995, 295, n. 27, 296, Fig. 3 (New York), as perhaps Fantuzzi and after a lost painting at the East End of the Gallery of Francis I.<\/p><\/blockquote>\n

Rosso\u2019s authorship of the composition of this print has never been questioned.\u00a0 Stylistically, it closely resembles his Pandora and Her Box<\/em> drawing (Fig.D.67a<\/a>) and would seem to have been invented about the same time, around 1536.\u00a0 On the possibility that this scene originally had a place on the East Wall of the Gallery of Francis I, see the catalogue entry of the decoration of that room (P.22, East Wall<\/a>).\u00a0 The etching is probably dependent on a lost drawing by Rosso known from a partial copy (Fig.D.66<\/a>).\u00a0 With due recognition given to Fantuzzi\u2019s own style as an etcher, the print nevertheless shows everywhere Rosso\u2019s specific kinds of figures, groupings, and overall design.\u00a0 The drawing on which the etching was based was probably done later than the one used by Boyvin for his engraving (Fig.E.13<\/a>), which has some slightly different, as well as some more schematic, details.<\/p>\n

Although without the monogram generally assigned to Fantuzzi, the etching has always been recognized as his.<\/p>\n","protected":false},"excerpt":{"rendered":"

Etching by Antonio Fantuzzi, 26.2 x 41.1 S (New York). Fig.E.78 (New York) Heinecken, IV, 1790, 533, as Leon Daven after Rosso.\u00a0 Bartsch, XVI, 1818, 402, 68, as Anonymous, School of Fontainebleau, but appears to be by Fantuzzi.\u00a0 Herbet, II, 1896, 277-278 (1969, 73-74), 26, as Fantuzzi after Rosso.\u00a0\u00a0 Zerner, 1969, A.F.32 (New York), as […]<\/p>\n","protected":false},"author":13,"featured_media":0,"parent":824,"menu_order":83,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-4145","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/pages.vassar.edu\/rosso\/wp-json\/wp\/v2\/pages\/4145","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/pages.vassar.edu\/rosso\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/pages.vassar.edu\/rosso\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/pages.vassar.edu\/rosso\/wp-json\/wp\/v2\/users\/13"}],"replies":[{"embeddable":true,"href":"https:\/\/pages.vassar.edu\/rosso\/wp-json\/wp\/v2\/comments?post=4145"}],"version-history":[{"count":9,"href":"https:\/\/pages.vassar.edu\/rosso\/wp-json\/wp\/v2\/pages\/4145\/revisions"}],"predecessor-version":[{"id":6604,"href":"https:\/\/pages.vassar.edu\/rosso\/wp-json\/wp\/v2\/pages\/4145\/revisions\/6604"}],"up":[{"embeddable":true,"href":"https:\/\/pages.vassar.edu\/rosso\/wp-json\/wp\/v2\/pages\/824"}],"wp:attachment":[{"href":"https:\/\/pages.vassar.edu\/rosso\/wp-json\/wp\/v2\/media?parent=4145"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}