two wrestlers – ultrawolvesunderthefullmoon

Jan Muller, “The Martyrdom of Saint Sebastian”, circa 1699, Engraving, 53.6 x 33.8 cm, The Metropolitan Museum of Art, New York

At the end of the sixteenth and early in the seventeenth century, Dutch Mannerist artists turned their attention to the German master Albrecht Dürer and other northern Renaissance artists, creating a revival of interest in their works. Printmakers copied these earlier designs or made new compositions emulating the style of their predecessors.

Born in 1571 in Amsterdam, Jan Muller was one of these reproductive engravers. He most likely received his initial training in engraving from his father, Harmen Jansz Muller, an engraver and owner of The Gilded Compasses, a publishing business in Antwerp. Jan Muller’s work is generally associated with the school of Hendrick Goltzius, the most prominent of the Dutch Mannerist engravers, with whom Muller was employed until about 1589.

Though Jan Muller made engravings based on his own designs, he was essentially a reproductive engraver for works by Haarlem Mannerists or Prague artists, such as painter Bartholomeus Spranger and engraver Hendrick Goltzius. Muller had contact with many artists in the Prague area including, by relation through family marriage, Dutch sculptor Adriaen de Vries, who was working at Emperor Rudolf II’s court.

During the late 1590s, Muller would often be employed by Emperor Rudolph to reproduce the designs of artists working at the royal court. The work he produced were characterized by an array of engraving techniques including areas of hatching and broad, sinuous lines. From 1594 through 1602. Muller traveled in Italy and lived in both Naples and Rome, where he continued to make engravings, including what are considered his most accomplished works.

After 1602, Jan Muller continued to produce engraved portraits and a few other works. Upon his return to Amsterdam, he virtually abandoned his engraving and managed The Gilded Compasses, which he had inherited. Muller’s inheritance from his father included all his father’s engraved copperplates, artwork and printed paper along with the tools and their accessories. Between 1624 and his death in 1628, Jan Muller produced only four known compositions and one painting, whose provenance is firmly attributed to him through his inventories and will.

Top Insert Image: Jan Muller, “The Martyrdom of Saint Sebastian”, Detail, circa 1699, Engraving, 53.6 x 33.8 cm, The Metropolitan Museum of Art, New York

Bottom Insert Image: Jan Harmensz Muller, “Two Wrestlers”, 1588-1592. Engraving, 16.8 x 21.2 cm, Rijksmuseum, The Netherlands

Cesare Fracanzano, “Two Wrestlers”, 1637, Oil on Canvas, 156 x 128 cm, Museo del Prado

Born in Bisceglie, Apulia in 1605, Cesare Fracanzano was a Mannerist painter who flourished in the seventeenth century. His father, Alessandro Fracanzano, was a nobleman originally from Verona and a late-Mannerist painter. Cesare Fracanzano and his younger brother Francesco learned the art trade from their father; however, they attributed little importance to their father’s style. In 1622, the brothers moved to Naples to study and work.

Cesare Fracanzano returned to the Apulia region in 1626, producing works for the churches and palaces of the nobility. In the period around 1630, he entered the Naples studio of Spanish painter Jusepe de Ribera, a proponent of an especially pronounced chiaroscuro technique which added drama to a work by creating a spotlight effect. Fracanzano’s pictorial style was based on Ribera’s teachings; however, he was also influenced by the boldness and dramatic brushwork of Tintoretto and the more classical Baroque styles of the Carracci brothers and Guido Reni of the Mannerist school.

Fracanzano married Beatrice Covelli, of whom little information is known, and settled in Barletta, the main town of Apulia, in south eastern Italy. Their union produced one son, Michelangelo, who was also a painter. After the death of his wife, it is known that he married a model who had posed for several of his works. Cesare Fracanzano died in 1651.

Fracanzano executed many works in his hometown, and only journeyed from town to fulfill commitments for work in Naples, Rome and other cities in Apulia. Works attributed to him include: “Saint John the Baptist”, 1635-40, at the National Museum of Caposimonte in Naples; “Drunken Silenus”, 1630-35, at the Museo del Prado; “Saint Jude Thaddeus” painted circa 1630 and showing the influence of his mentor, the painter Ribera; and the “Immaculate Conception with St. Joseph and St. Nicholas” at the Church of Sant Antonio de Padri Barletta in Apulia.

Cesare Fracanzano’s 1637 “Two Wrestlers” belongs to a group of paintings entitled “History of Rome” which was commissioned for Madrid’s Buen Retiro Palace, a large palace complex built on the orders of Philip IV of Spain and designed for the leisure of the monarchy . Dedicated to depictions of Roman public pastimes, the group includes athletes, gladiators, animal fights, and mock sea battles. As the buildings of the palace complex are no longer extant, the painting is in the collection of Madrid’s Museo del Prado.

Insert Image: Cesare Fracanzano, “Saint Jude Thaddeus”, circa 1630, Oil on Canvas, 91.5 x 79.3 cm, Private Collection