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Abstract
Spanning 45 years, the fascinating personal and artistic relationship between friends Jean-Auguste-Dominique Ingres and Luigi Calamatta (Civitavecchia 1801 – Milan 1869) is emblematic of the relationship between a painter and the engraver of his work in early nineteenth century France. In this study we review the history of the Vow of Louis XIII engraved by Calamatta after the homonymous painting by Ingres. Using so far unpublished documents, recent discoveries and analysis of critical success, we address a major issue that arose in the 1830’s about reproductive printmaking (debated among others by George Sand, a friend of Calamatta’s): the opposition between faithful imitation and free interpretation of the artwork.
Highlights
Rosalba DinoiaISSN : 2680-4999 Éditeur Comité national de l'estampe Édition imprimée Date de publication : 1 juin 2013 Pagination : 4-28 ISSN : 0029-4888
Pendant le temps qu’il à mis à graver la susdite planche, plus les intérêts réglés par la convention du 1er 8bre 1835
Summary
ISSN : 2680-4999 Éditeur Comité national de l'estampe Édition imprimée Date de publication : 1 juin 2013 Pagination : 4-28 ISSN : 0029-4888. Référence électronique Rosalba Dinoia, « La petite histoire du Vœu de Louis XIII gravé par Calamatta d’après Ingres », Nouvelles de l’estampe [En ligne], 243 | 2013, mis en ligne le 15 octobre 2019, consulté le 18 mars 2020. La revue Nouvelles de l’estampe est mise à disposition selon les termes de la Creative Commons Attribution 4.0 International License
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