Bow-carving Amor
after 1603 | Joseph Heintz d. Ä.
It wasn’t until 1603 that Emperor Rudolf II was able to purchase Parmigiano’s original painting. Rudolf’s court painter Josef Heintz produced this copy which was preserved together with the original over the following centuries. Both in the painting technique and in Heintz’s pictorial conception differences to the model have manifested themselves: through thinly applied translucent paint over an ochre coloured background the artist was able to achieve a stronger integration of Amor into the background, while Parmigianino, using a compacted painting style and cooler colours, places his bow carver more like a painted sculpture on a black background.
It wasn’t until 1603 that Emperor Rudolf II was able to purchase Parmigiano’s original painting. Rudolf’s court painter Josef Heintz produced this copy which was preserved together with the original over the following centuries. Both in the painting technique and in Heintz’s pictorial conception differences to the model have manifested themselves: through thinly applied translucent paint over an ochre coloured background the artist was able to achieve a stronger integration of Amor into the background, while Parmigianino, using a compacted painting style and cooler colours, places his bow carver more like a painted sculpture on a black background.
Artist:
Joseph Heintz d. Ä. (1564 Basel - 1609 Prag) DNB
Time:
after 1603
Object Name
Painting
Culture
German
Material/technology:
wood
Dimensions:
135 cm × 64 cm
Framed: 156,4 cm × 85,6 cm × 8,2 cm
Copyright
Kunsthistorisches Museum, Gemäldegalerie
Invs.
Gemäldegalerie, 1588
Provenance
ca 1610-1619 Imperial Collection Vienna
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