Bartolomeo Coriolano
(Bologna ca. 1599 - Bologna ca. 1676)
The Fall of the Giants, 1641
Chiaroscuro woodcut printed in brown, gray, and light brown.
Measurements: mm 855 x 613
A rare and extraordinary composition made on four joined sheets, each printed with three plates. It is considered "in terms of size and complexity, the most ambitious collaborative project" between Coriolano and Reni. As N. Takahatake points out, the present state is known in only two other examples, one in London at the British Museum (W5.31) and one in Cambridge Massachusetts at the Fog Art Museum (1985.52.2072). However, the present example is a further variant as it does not include the date 1647 in the coat of arms in the upper right. The subject is translated from a painting by Guido Reni, of which three versions are known, the second in chiaroscuro, now lost, dated 1638 which served, as Malvasia recalls, as a model for Coriolano. At least three preparatory drawings are also preserved (Vienna, Albertina; Florence, Uffizi n 12488, London Royal Collection n 3461). Impetus, anger, and dynamism invade the composition: Zeus at the top center peeks out from the clouds, sitting on an eagle, holding bundles of lightning in his hands; from a high cliff the giants with plastic and sculptural bodies fall to the ground helpless after trying to climb the mountain to reach the gods (Ovid, Metamorphoses). The broad and continuous stroke, the play of light and shadow makes the scene majestic and intense. Inscriptions in the plate in the upper right within a coat of arms: Victoriam/iovis/arces gigantum/superimpositis montibus/fabricatas/fulmine deijcientis/Guido Rhenus/Iterun auxit/Barthol. Coriolanus/Eq/Incidit, & interum/evulgavit, on the left: TERRA PARENS/Quondam celestibus/Invida regnis./Calud Gigantoni; at the bottom left: G. R. In./Barthol. Coriolanus Eques/Sculp. es Form. Bonon./1641.