Lady Smith y sus hijos
Marcha de Lady Smith y sus hijos 15, 1789 por el grabador italiano Francesco Bartolozzi (1728 – 1815) from a painting British Painter Sir Joshua Reynolds (1723 – 1792)
This engraved family portrait of Lady Charlotte Sophia Smith and her children; George Henry, Louisa, and Charlotte is from a painting done by British Painter Sir Joshua Reynolds.
It shows the family in a garden setting with Lady Smith looking yonder while the two older girls maybe around 5 y 7 years of age playfully carry their younger brother who may be about three.
Lady Smith and her Children is a retouched digital art old masters reproduction of a public domain image.
Información debajo de Wikipedia.org
Bartolozzi was born in Florence in 1727. He was originally destined to follow the profession of his father, a gold- and silver-smith, but he manifested so much skill and taste in designing that he was placed under the supervision of two Florentine artists, including Ignazio Hugford and Giovanni Domenico Ferretti who instructed him in painting.
After devoting three years to that art, he went to Venice and studied engraving. He spent six years there working for Joseph Wagner, un grabador y vendedor de grabados, antes de montar su propio taller.
Sus primeras producciones en Venecia fueron platos al estilo de Marco Ricci, Zuccarelli. Luego se mud por un corto tiempo en 1762 a Roma, donde completó un conjunto de grabados que representan frescos en Grottaferrata por Domenichino que representan la vida de San Nilo. Aquellos y sus grabados de las obras del Viejo Maestro, comenzó a llamar la atención en toda Europa.
En 1763 conoció a Richard Dalton, el Bibliotecario Real Inglés que viajaba por Italia en busca de adquisiciones para las colecciones del Rey. Dalton le ofreció un nombramiento como grabador del rey.; Bartolozzi aceptó y se fue a Londres en 1764.
Bartolozzi vivió en Londres durante casi cuarenta años.. Produjo una enorme cantidad de grabados, incluyendo a Clytie después de Annibale Carracci, y de la Virgen y el Niño, después de Carlo Dolci.
Una gran parte de ellos son de las obras de Cipriani y Angelica Kauffman.. Bartolozzi también contribuyó con varias planchas a la Galería Shakespeare de Boydell..
También dibujó sus propios bocetos con tiza roja.. Soon after arriving in London, he was appointed ‘Engraver to the King’ (George III) with an annual salary of £300.
He was elected a founding member of the Royal Academy. The new Academy’s bylaws specifically excluded engravers but Bartolozzi was so well esteemed that he was brought in as an Academician in the category of Painter. En 1802 became the founding President of the short-lived Society of Engravers.
While Bartolozzi was not the original inventor of the crayon manner of engraving, he became a leading exponent that “stipple” method and it became associated with him. With that technique images are created by delicate dots rather than lines as in traditional etchings or engravings. Bartolozzi added distinction to his work by using red (sanguine), orange and brown inks rather than common black ink.
As his prominence grew, he took on students including Michele Benedetti, Ignatius Joseph van den Berghe, Thomas Cheesman, Lambertus Antonius Claessens, Daniel Gardner, Christiaan Josi, Johan Fredrik Martin, Conrad Martin Metz, Luigi Schiavonetti, John Keyse Sherwin, Heinrich Sintzenich, Peltro William Tomkins, Domenico Bernardo Zilotti, y Gavriil Skorodumov.