{"id":4212,"date":"2012-04-05T16:20:16","date_gmt":"2012-04-05T20:20:16","guid":{"rendered":"http:\/\/blogs.vassar.edu\/rosso\/?page_id=4212"},"modified":"2012-08-20T10:56:42","modified_gmt":"2012-08-20T14:56:42","slug":"e-95-limosin-judas","status":"publish","type":"page","link":"https:\/\/pages.vassar.edu\/rosso\/catalogues\/engravings\/e-95-limosin-judas\/","title":{"rendered":"E.95 Kiss of Judas"},"content":{"rendered":"
\"\"<\/a>

E.95 Limosin, Kiss of Judas<\/p><\/div>\n

After Rosso?<\/p>\n

Etching by L\u00e9onard Limosin, 25.5 x 18.8 S (New York).\u00a0 Inscribed on a plaque at the lower left: LEONARD \/ LIMOSIN<\/em>, and on the ax head at the top center: M\u00a0 L<\/em>.\u00a0 Robert-Dumesnil, Herbet, and Zerner state that this print is also dated 1544 but the impression in Brussels does not show this and the one in New York has this date added in pencil in the cut, filled, and redrawn lower left corner.<\/p>\n

Fig.E.95<\/a> (Brussels)<\/p>\n

Robert-Dumesnil\/Duplessis, XI, 1871, 127, 2.\u00a0 Herbet, IV, 1900, 329 (1969, 179), 7.\u00a0 Zerner, 1969, L.L.6 (Brussels).<\/p>\n

COLLECTIONS: Brussels, Biblioth\u00e8que Nationale Albert Ier<\/sup>.\u00a0 New York, 37.42.20, the four corners cut, added, and redrawn; only the D of LEONARD and the tip of the N of LIMOSIN are printed.<\/p>\n

LITERATURE:<\/p>\n

Lavendan, 1913, 100.<\/p>\n

Kusenberg, 1931, 115, 119, 208, n. 312, stated that the figure at the lower right resembles the kneeling youth in the foreground of the Unity of the State<\/em> in the Gallery of Francis I.<\/p>\n

Adh\u00e9mar, 1938, 2, no. 6.\u00a0 Ross, 1938, 361-364, Fig. p.364 (New York).<\/p>\n

Verdier, 1967, 175-176, under no. 107, as related to Limosin\u2019s enamel in the Walters Art Gallery, Baltimore.<\/p>\n

Baratte, 1993, 22, 23, Fig. 2 (Brussels).<\/p><\/blockquote>\n

The resemblance that Kusenberg found (see above) between a figure in the print and one in Rosso\u2019s Unity of the State<\/em> (Fig.P.22, VI S a<\/a>) is not a precise one, for the figure in the painting is seen from the back and the one in the etching from the front; furthermore, the position of their arms is entirely different.\u00a0 Still, their reversed kneeling postures are alike.\u00a0 Other figures appear Rossoesque and the energetic drama of the scene might suggest a relation to a lost work by him.<\/p>\n

ENAMELS: Limosin. Baltimore, Walters Art Gallery, Inv. 44.213.\u00a0 Oval, 34.2 x 25.9.\u00a0 Ross, 1938, 361-364, Fig. p.362.\u00a0 Verdier, 1967, 175-176, no. 107, Fig. p.177.<\/p>\n

The small scene of the Agony in the Garden<\/em> in the background of the expanded top of the scene is derived from Limosin\u2019s etching of this scene (Fig.E.94<\/a>).\u00a0 The composition of the print is also enlarged at the sides by the addition of several figures to fill the oval of the enamel.\u00a0 Other details have also been added elsewhere.<\/p>\n

Limosin?\u00a0 \u00c9couen, Ch\u00e2teau, Mus\u00e9e national de la Renaissance, Cl 2568 (Fig.E.95, Enamel<\/a>).\u00a0 25 x 20.<\/p>\n

LITERATURE: Du Sommerard, 1883, 364, no. 4630, as by Limosin.\u00a0 Demartial, 1912, 27, as by Limosin and related to his etching.\u00a0 Lavendan, 1913, 100.\u00a0 Verdier, 1967, 176.<\/p>\n

The rectangular enamel is in the same direction as the print but slightly less high and wider in format.\u00a0 Trees are added at left and right and one figure at the right is more fully described.\u00a0 The enamel follows the print rather closely but the elongation of the figures, the quickness of their movements, and the intensity of their emotions in the print have been mitigated.\u00a0 Stylistically, this enamel is like the rectangular enamel of the Last Supper<\/em> in the Hermitage, which is also virtually the same size (see under E.93<\/a>).<\/p>\n","protected":false},"excerpt":{"rendered":"

After Rosso? Etching by L\u00e9onard Limosin, 25.5 x 18.8 S (New York).\u00a0 Inscribed on a plaque at the lower left: LEONARD \/ LIMOSIN, and on the ax head at the top center: M\u00a0 L.\u00a0 Robert-Dumesnil, Herbet, and Zerner state that this print is also dated 1544 but the impression in Brussels does not show this […]<\/p>\n","protected":false},"author":13,"featured_media":0,"parent":824,"menu_order":101,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-4212","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/pages.vassar.edu\/rosso\/wp-json\/wp\/v2\/pages\/4212","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=4212"}],"version-history":[{"count":14,"href":"https:\/\/pages.vassar.edu\/rosso\/wp-json\/wp\/v2\/pages\/4212\/revisions"}],"predecessor-version":[{"id":6631,"href":"https:\/\/pages.vassar.edu\/rosso\/wp-json\/wp\/v2\/pages\/4212\/revisions\/6631"}],"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=4212"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}