Harvard Art Museums > 2008.110: Standing Putto Prints Collections Search Exit Deep Zoom Mode Zoom Out Zoom In Reset Zoom Full Screen Add to Collection Order Image Copy Link Copy Citation Citation"Standing Putto (Dominique Vivant Denon)(After Guido Reni) , 2008.110,” Harvard Art Museums collections online, Nov 22, 2024, https://hvrd.art/o/101271. Reuse via IIIF Toggle Deep Zoom Mode Download This object does not yet have a description. Identification and Creation Object Number 2008.110 People Dominique Vivant Denon, French (Givry, France 1747 - 1825 Paris, France) After Guido Reni, Italian (Bologna 1575 - 1642 Bologna) Title Standing Putto Classification Prints Work Type print Date c. 1790 Culture French Persistent Link https://hvrd.art/o/101271 Physical Descriptions Medium Etching and roulette printed in blue ink on Chinese paper Technique Etching and roulette Dimensions Plate: 25.8 × 21 cm (10 3/16 × 8 1/4 in.) Sheet: 29.1 × 33.5 cm (11 7/16 × 13 3/16 in.) Inscriptions and Marks inscription: upper left corner, graphite, hand written: A Hav/IV / 18-19 Jahrh[undert] inscription: verso, graphite, hand written: Ref / EM [in a circle; cataloguing information?] Acquisition and Rights Credit Line Harvard Art Museums/Fogg Museum, Gift of James A. Bergquist, Boston Accession Year 2008 Object Number 2008.110 Division European and American Art Contact am_europeanamerican@harvard.edu Permissions The Harvard Art Museums encourage the use of images found on this website for personal, noncommercial use, including educational and scholarly purposes. To request a higher resolution file of this image, please submit an online request. Descriptions Commentary Dominique Denon, who, as was demonstrated in an exhibition, "Prints from the Serenissima: Connoisseurship and the Graphic Arts in Eighteenth-Century Venice" (Harvard Art Museum/Fogg Museum, 23 November 2002 - 9 March 2003), was an innovative and influential printmaker. This impression exemplifies his experimentation well. Its somewhat trite subject -- a standing putto copied from a Guido Reni drawing -- is merely the vehicle for experimentation in technique, medium, and support. Denon has used etching and roulette, conventional enough for the 18th century, but he extended the tonal potential of roulette to create vapous veils of pale tone, perhaps by the direct application of acid to the plate. For this impression he selected an astonishing shade of blue ink, suggestive of Prussian blue, a synthetic pigment invented only a few decades earlier which had come into great fashion but which is as far as possible from the gray or brown washes that would have characterized the Reni original. Finally, as a further distinction to this impression, Denon selected a soft grayish-white Chinese paper. According to Darius Spieth, organizer of the aforementioned exhibition, whose PhD dissertation catalogues the prints of Denon, this is entirely in character for the artist. Verification Level This record has been reviewed by the curatorial staff but may be incomplete. Our records are frequently revised and enhanced. For more information please contact the Division of European and American Art at am_europeanamerican@harvard.edu
