25.1 x 18.8 cm
signed in the upper right plate: Fortuny / Roma
P. de Madrazo, Fortuny , "L'Ilustracion Artistica", VII, 1888, 314, p. 5;
R. Vives i Piqué, Fortuny gravador. Estudi crític i catàleg raonat , Reus 1991, pp. 125-128 n. 13;
Mariano Fortuny Marsal, Mariano Fortuny Madrazo. Grabados y dibujos, exhibition catalog edited by R. Vives i Piqué, M.L. Cuenca García, Madrid, Biblioteca Nacional, 1994, pp. 68-69 (with previous bibliography);
F.M. Quílez i Corella, Fortuny gravador, in Fortuny (1838-1874), exh.cat., Barcelona, Museu Nacional d'Art de Catalunya, 17 October 2003 - 18 January 2004 , pp. 324-332, p. 330;
Un coup de coeur. Grafica tra Italia e Francia dalla raccolta di Bruno Mantura, exhibition catalog edited by T. Sacchi Lodispoto, S. Spinazzè, Rome, Galleria Prencipe, 14 February - 16 March 2019, pp. 68-69 no. 17.
Arrived in Rome in 1858 with a pensioner from the Diputació de Barcelona, Mariano Fortuny y Marsal specialized in the Eternal City, before to bond with the merchant Adolphe Goupil and establish himself on the international market with eighteenth-century costume paintings and genre scenes, made with surprising technique and immediately imitated by a host of Italian and Spanish painters, who gave birth to the phenomenon of fortunism. A versatile artist, he demonstrated the same dexterity and skill in etching, practiced occasionally, as in painting. His deep knowledge of the great masters of the past led him to confront himself in this field with Rembrandt and, above all, with Goya, explicitly mentioned in some works. The diffusion of Fortuny's engravings is largely due to Goupil, who in 1869 was selling a portfolio of eight etchings. In 1878, four years after the artist's death, the number of engravings published by the merchant, in various formats, techniques and types of paper, rose to twenty-eight.
At the test of print of the engraving, the first runs made in 1875 immediately after the artist's death followed. The sheet in question in china paper belongs to the second anti-letter edition, made in three versions (china paper, Whatman with filigree crown with lilac flowers 1873 and parchment), followed by the fourth edition of 1878, the fifth of 1916 and the sixth of 1973. The engraving is printed in support of the biography of Fortuny written by Baron Davillier by Charles Amand-Durand (1831 - 1905), famous Parisian engraver pioneer of héliogravure and known for having contributed through his reprints to the diffusion of the work of great masters of the past like Dürer and Rembrandt in the etching revival .
Teresa Sacchi Lodispoto