Girolamo Mocetto. The Calumny of Apelles. 1500–1506. Italy. Engraving in black on ivory laid paper Although he probably never met Andrea Mantegna, the Venetian painter-engraver Girolamo Mocetto nevertheless based this print on a drawing (now in the British Museum, London) by the older artist. Later, Rembrandt also copied the same drawing, and may have owned it for a time. Mocetto altered the composition by placing the scene, an allegory of calumny (or false accusation), in the Campo de Santi Giovanni e Paolo in Venice, with Andrea del Verrocchio’s famous equestrian monument to Bartolomeo Colle
Girolamo Mocetto. The Calumny of Apelles. 1500–1506. Italy. Engraving in black on ivory laid paper Although he probably never met Andrea Mantegna, the Venetian painter-engraver Girolamo Mocetto nevertheless based this print on a drawing (now in the British Museum, London) by the older artist. Later, Rembrandt also copied the same drawing, and may have owned it for a time. Mocetto altered the composition by placing the scene, an allegory of calumny (or false accusation), in the Campo de Santi Giovanni e Paolo in Venice, with Andrea del Verrocchio’s famous equestrian monument to Bartolomeo Colleoni in the background. This print is a unique early state before final shading was added to the basilica dome.
Size: 3000px × 2092px
Photo credit: © WBC ART / Alamy / Afripics
License: Licensed
Model Released: No
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