Escolar Documentos
Profissional Documentos
Cultura Documentos
Cata
Cata
com/portfolio/a-sociedade-cavalieri/
1 of 2 06/07/2018 02:36
A Sociedade Cavalieri – Pierre Lapalu http://pierrelapalu.com/portfolio/a-sociedade-cavalieri/
P E R Í O D O : 2013 - 2015
2 of 2 06/07/2018 02:36
A Sociedade Cavalieri
1585 • 1914
CURADORIA
Pierre Menard
apresenta
A Sociedade Cavalieri
1585 • 1914
CURADORIA
Pierre Menard
A Sociedade Cavalieri
1585 • 1914
CURADORIA
Pierre Menard
6
A SOCIEDADE CAVALIERI
CAIXA ECONÔMICA FEDERAL
• A CAIXA é uma empresa pública brasileira que prima pelo CAIXA is a Brazilian public company based
on respect for diversity. As such, maintains
respeito à diversidade, e mantém comitês internos atuantes para
internal committees aiming to promote
promover entre os seus empregados campanhas, programas e ações campaigns, programs and actions among its
voltados para disseminar idéias, conhecimentos e atitudes de respeito employees to disseminate ideas, knowledge and
e tolerância à diversidade de gênero, raça, opção sexual e todas attitudes of respect and tolerance of gender
diversity, race, option sexual and all other
as demais diferenças que caracterizam a sociedade.
differences that characterize the society.
A CAIXA é uma das principais patrocinadoras da cultural brasileira, CAIXA is a major sponsor of Brazilian culture
by investing, yearly, more than R$ 60 million
e destina, anualmente, mais de R$ 60 milhões de seu orçamento para
for supporting cultural projects in both its own
patrocínio a projetos culturais em espaços próprios e espaços de ter- areas and third-party spaces, with emphasis
ceiros, com mais ênfase para exposições de artes visuais, peças de on visual arts exhibitions, theatre, dance
teatro, espetáculos de dança, shows musicais, festivais de teatro performances, concerts and festivals of theatre
and dance around the country, as well as
e dança em todo o território nacional, e artesanato brasileiro.
Brazilian craftwork.
Os projetos patrocinados são selecionados via edital público, uma The projects are selected via public bidding,
opção da CAIXA para tornar mais democrática e acessível a partici- chosen by CAIXA as a means to make its
sponsorships as democratic and accessible to
pação de produtores e artistas de todas as unidades da federação,
producers and artists of all country, as well as
e mais transparente para a sociedade o investimento dos recursos making the use of its resources transparent for
da empresa em patrocínio. the Brazilian society.
7
A Sociedade Cavalieri
CONCEPÇÃO / ORGANIZED BY
REALIZAÇÃO / REALIZATION
CURADOR / CURATOR
Pierre Menard
Pierre Menard
Alessandra Silveira Peixoto
CONSULTORIA / CONSULTANT
João Dahlmann
Beatriz Ocampo
Amanda Molina
TRADUÇÃO / TRANSLATED BY
Pierre Lapalu
A SOCIEDADE CAVALIERI
8
ÍNDICE
Sociedade Cavalieri: 10
Antigo e Moderno”
DE GIOVANNI BATTISTA DE’ CAVALIERI
da Sociedade Cavalieri
Posfácio 101
Anexos 112
A SOCIEDADE CAVALIERI
9
Sociedade Cavalieri:
UMA SOCIEDADE SECRETA DE ARTISTAS
10
A tradição da Sociedade Cava-
lieri se encerraria com a eclosão
da Primeira Guerra Mundial e
a consolidação dos movimentos
modernistas. O grupo per-
maneceria incógnito até 1973,
quando Philippe Bida publicaria
o primeiro estudo sobre o assunto
pela Universidade Autônoma de
Toulouse. Em 1998, no Museu de
Estampas de Paris, foi realizada
a primeira exposição agregando
várias gravuras de artistas da
Sociedade Cavalieri. Desde então,
várias exposições sobre Cavalieri
e seu legado foram realizadas
ao redor do mundo.
Pierre Menard
CURADOR
A SOCIEDADE CAVALIERI
11
12
A SOCIEDADE CAVALIERI
Giovanni Battista de’ Cavalieri
UM ARTISTA QUE MUDOU O MUNDO
13
Monstros do Mundo Antigo e Moderno
A SÉRIE QUE INICIOU UMA TRADIÇÃO
século XIX. Porém, hoje vemos com naturalidade as deformidades tros antigos eram os dele e que
que encontramos em caricaturas, desenhos animados e até mesmo os monstros modernos seriam
em obras de artistas contemporâneos como Paul McCarthy os nossos.
e Patricia Piccinini.
14
15
A SOCIEDADE CAVALIERI
GRAVURAS DA SÉRIE
“Monstros do Mundo
Antigo e Moderno”
de Giovanni Battista de’ Cavalieri
Giovanni Battista de’ Cavalieri
(1525 - 1601)
Villa Lagarina, Itália / Roma, Itália
18
Giovanni Battista de’ Cavalieri
(1525 - 1601)
Villa Lagarina, Itália / Roma, Itália
A SOCIEDADE CAVALIERI
21
Giovanni Battista de’ Cavalieri
(1525 - 1601)
Villa Lagarina, Itália / Roma, Itália
22
Giovanni Battista de’ Cavalieri
(1525 - 1601)
Villa Lagarina, Itália / Roma, Itália
A SOCIEDADE CAVALIERI
25
Giovanni Battista de’ Cavalieri
(1525 - 1601)
Villa Lagarina, Itália / Roma, Itália
26
Giovanni Battista de’ Cavalieri
(1525 - 1601)
Villa Lagarina, Itália / Roma, Itália
A SOCIEDADE CAVALIERI
29
Giovanni Battista de’ Cavalieri
(1525 - 1601)
Villa Lagarina, Itália / Roma, Itália
30
Giovanni Battista de’ Cavalieri
(1525 - 1601)
Villa Lagarina, Itália / Roma, Itália
A SOCIEDADE CAVALIERI
33
Giovanni Battista de’ Cavalieri
(1525 - 1601)
Villa Lagarina, Itália / Roma, Itália
34
Giovanni Battista de’ Cavalieri
(1525 - 1601)
Villa Lagarina, Itália / Roma, Itália
A SOCIEDADE CAVALIERI
37
GRAVURAS PRODUZIDAS POR
ARTISTAS MEMBROS DA
Sociedade Cavalieri
Aliprando Caprioli
(~1570 - ~1600)
Trento, Itália / Roma, Itália
40
Jacques Callot
(c. 1592 - 1635)
Nancy, França / Florença, Itália
Siga o Gobbi
ÁGUA-FORTE - 1617
65 x 90mm
MUSEU DE ARTE DE NANCY
A SOCIEDADE CAVALIERI
43
Claude Gellée [ou Lorrain]
(1600 - 1682)
Chamagne, França / Roma, Itália
44
Rembrandt van Rijn
(1606 - 1669)
Leida, Países Baixos / Amsterdã, Países Baixos
ÁGUA-FORTE - 1630
108 x 130mm
CASA DA GRAVURA DE HAARLEM
A SOCIEDADE CAVALIERI
47
Giovanni Benedetto Castiglione
(1609 - 1664)
Gênova, Itália / Mântua, Itália
O sonho de José
ÁGUA-FORTE - 1638
144 x 195mm
MUSEU DA GRAVURA CIDADE DE GÊNOVA
48
Jacob van Ruisdael
(1628 - 1682)
Haarlem, Países Baixos / Amsterdã, Países Baixos
ÁGUA-FORTE - 1650
195 x 282mm
CASA DA GRAVURA DE HAARLEM
A SOCIEDADE CAVALIERI
51
Príncipe Rupert do Reno
(1619 - 1682)
Praga, Rep. Tcheca / Kassel, Alemanha
Um senhor monstro
52
Stefano della Bella
(1610 - 1664)
Florença, Itália / Florença, Itália
Cinco Mortes
Depois da juventude, Stefano Della Bella encantou-se pela vida da corte, sendo
um protegido dos Médici. Neste período realizou obras mais fáceis para o gosto
da aristocracia. Na sua maturidade retomaria o trabalho de monstros do início
da carreira. Na obra ao lado, que faz parte de uma série de cinco representações
da morte, Della Bella homenageou Cavalieri ao compor uma Morte de duas
cabeças carregando uma mulher que pariu seu filho dentro do próprio corpo,
resultando em uma imagem muito semelhante às gravuras do mestre.
A SOCIEDADE CAVALIERI
55
Cornelis Dusart
(1660 - 1704)
Haarlem, Países Baixos / Haarlem, Países Baixos
ÁGUA-FORTE - 1685
177 x 134mm
CASA DA GRAVURA DE HAARLEM
56
Giovanni Battista Tiepolo
(1696 - 1770)
Veneza, Itália / Madri, Espanha
As faces bacantes
ÁGUA-FORTE - 1716
174 x 245mm
MUSEU DO PILAR
A SOCIEDADE CAVALIERI
59
William Hogarth
(1697 - 1764)
Londres, Reino Unido / Londres, Reino Unido
Gulielmus Hogarth
Assim como os demais artistas da Sociedade Cavalieri, foi nos primeiros anos
de carreira que Hogarth dedicou-se mais à criação de monstros imaginários.
No entanto, essa experiência inicial influenciaria todo o satirismo característico
de sua obra. Baseado no método de Cavalieri, Hogarth popularizou a arte
da representação da deformidade tanto moral como física. A gravura ao lado
foi baseada no mais conhecido autorretrato de Hogarth. Aqui ele substituiu
sua própria cabeça pela de um urso bêbado, satirizando sua própria
condição de artista aceito pela aristocracia.
A SOCIEDADE CAVALIERI
60
Marco Pitteri
(1703 - 1767)
Veneza, Itália / Veneza, Itália
A Trindade
Com mais de mil anos de duração, a República de Veneza sempre foi um porto
aberto do ocidente para o oriente, tendo uma relação de mútua colaboração
comercial com o Império Otomano. Tendo exclusividade na importação de
bens de consumo para a Europa, Veneza também teve papel importante no
intercâmbio cultural com a cristandade ortodoxa sob domínio otomano.
A SOCIEDADE CAVALIERI
63
John Hamilton Mortimer
(1740 - 1779)
Eastbourne, Reino Unido / Londres, Reino Unido
A luta
ÁGUA-FORTE - 1775
313 x 237mm
MUSEU DE ARTE DE SUNDERLAND
64
Jean-Pierre Norblin de la Gourdaine
(1745 - 1830)
Misy-sur-Yonne, França / Paris, França
Autorretrato
A SOCIEDADE CAVALIERI
67
Francisco de Goya
(1746-1828)
Fuendetodos, Espanha / Bordeaux, França
68
Charlton Nesbitt
(1775 - 1838)
Swalwell, Reino Unido / Londres, Reino Unido
XILOGRAVURA - 1801
98 x 146mm
MUSEU DE ARTE DE SUNDERLAND
A SOCIEDADE CAVALIERI
71
Honoré Daumier
(1808 - 1879)
Marselha, França / Paris, França
A grande máscara
LITOGRAFIA - 1831
166 x 154mm
GALERIA DE ARTE DE TOULOUSE
72
Frederico Guilherme Briggs
(1813 - 1870)
Rio de Janeiro, Brasil / Rio de Janeiro, Brasil
Carro d’Alfandega
LITOGRAFIA - 1836
185 x 234mm
BIBLIOTECA PÚBLICA FLUMINENSE
A SOCIEDADE CAVALIERI
75
James McNeil Whistler
(1834 - 1903)
Lowell, Estados Unidos / Londres, Reino Unido
Prelúdio e fuga
76
John Tenniel
(1820 - 1914)
Londres, Reino Unido / Londres, Reino Unido
A fênix federal
LITOGRAFIA - 1864
271 x 198mm
MUSEU METROPOLITANO DE BOSTON
Sir John Tenniel talvez seja mais conhecido como o ilustrador que deu vida
aos seres imaginários de Alice no País das Maravilhas. No entanto, poucos
reconhecem que Lewis Carroll foi igualmente inspirado pelo trabalho de John
Tenniel. Membro pródigo da Sociedade Cavalieri de Londres desde 1840,
Tenniel publicou na revista Punch algumas ilustrações com seres
imaginários que povoariam a mente de Lewis Carroll.
Mesmo em seus anos mais maduros, Tenniel não esqueceria a obra de Cavalieri.
Na ilustração ao lado, utilizou a técnica de Cavalieri para compor a caricatura
de Abraham Lincoln como uma mítica fênix. As charges políticas de Tenniel,
baseadas no método Cavalieri, estabeleceriam um padrão para a confecção
de charges editoriais tanto na Inglaterra quanto nos Estados Unidos.
A SOCIEDADE CAVALIERI
79
Anders Zorn
(1860 - 1920)
Mora, Suécia / Estocolmo, Suécia
A graça
80
Odilon Redon
(1840 - 1916)
Bordeaux, França / Paris, França
O Homem-Aranha
LITOGRAFIA - 1887
335 x 263mm
GALERIA DE ARTE DE TOULOUSE
A SOCIEDADE CAVALIERI
83
James Ensor
(1860 - 1949)
Ostend, Bélgica / Ostend, Bélgica
Insetos peculiares
PONTA-SECA - 1885
106 x 154mm
MUSEU METROPOLITANO DE BOSTON
Mesmo sem nunca ter sido membro efetivo de sessões da Sociedade, Ensor se
apropriou de vários elementos da obra de Cavalieri. Na gravura ao lado, faz um
autorretrato como inseto, numa possível referência à Norblin de la Gourdaine.
Na mesma gravura, cita Cavalieri ao reproduzir um de seus monstros, ao fundo.
Embora tenha produzido obras com esse simbolismo satírico durante toda sua
carreira, Ensor não deixaria legado de seus métodos a outros artistas.
A SOCIEDADE CAVALIERI
84
Ernst Ludwig Kirchner
(1880 - 1938)
Aschaffenburg, Alemanha/Davos, Suíça
Mulher de Cavalieri
XILOGRAVURA - 1903
200 x 140mm
CASA KIRCHNER DE DAVOS
87
ENGLISH have graduated within the algorithm held • GIOVANNI BATTISTA CAVALIERI
by the The Cavalieri Society are artists An artist who changed the world
• THE CAVALIERI SOCIETY: such as Rembrandt, van Dyck, William
A secret society of artists Hogarth, Wenzel Hollar, Piranesi, Goya and CAVALIERI (Cavalleri, Cavallieri,
Alexandre Bida, among others. Although De’ Cavalieri, De Cavalleri, De Cavallerijs),
The Cavalieri Society was a secret society forgotten by the general public, Cavalieri Giovanni Battista. Son of Giovanni
that functioned for over 300 years within and his Society influenced the rise of Domenico of Vila Lagarina and Giovanna
the printmaking ateliers in Western Europe. various visual elements of contemporary di Salò, Giovanni Battista Cavalieri was
Their goal was to encourage the creation culture, such as anthropomorphism, an Italian printmaker, designer and editor.
of monsters and imaginary beings through caricature and collage, and helped guiding Born in Villa Lagarina, Province of Trento,
a specific method defined by Giovanni artistic movements such as Symbolism, in 1525, hence also signed his work as
Battista de ‘Cavalieri in his “Monsters from Dadaism and Irrealism. “Lagarino”.
all parts of the ancient and modern world”
series. Published in Rome in 1585, the series The Cavalieri Society’s tradition would end The Cavalieris were influential in the region
was not well received in the cultural milieu after the outbreak of World War I and the of Trento, then an Episcopal Principality of
of the time. consolidation of the modernist movements. the Holy Roman Empire. These influence –
The group remained incognito until 1973, that included close relations with the senior
However, the unusual set of images arouse when Philippe Bida published the first hierarchy of the Catholic Church - and
the curiosity of some young artists who study on the subject for the Autonomous protection would help in his career in Rome.
would eventually look for Cavalieri’s University of Toulouse. In 1998, the Throughout his lifetime, Cavalieri devoted
atelier. Honored for being sought, he Museum of Prints, in Paris, held the first several publications to ecclesiastical leaders
compiled his creative method and went exhibition of prints made by artists from of the region of Trento and Tyrol, such as
on to devote himself to teaching the craft The Cavalieri Society. Since then, several André I of Austria, Cardinal Ludovico
of printmaking and to the practice the exhibitions on Cavalieri and his legacy have Madruzzo and Baron Ernest Wolkenstein,
symbolic development. After the artist’s been held around the world. among others.
death in 1601, his students set up a secret
society to put into practice the mission of Hence the Institute of Art of the His comfortable social situation allowed
spreading Cavalieri’s method and promoting Autonomous University of Toulouse, Cavalieri to produced a lot, being
exchanges of prints and drawings between through the Artistic Consulate of Haute- prominently featured in the compendium
the associated artists. Garonne, is deeply honored to present “The Lives of Artists” by Giorgio Vasari.
for the first time in Brazil an (altough Over four hundred original Cavalieri’s
In the early seventeenth century, Rome incomplete) exhibition on the Cavalieri prints are preserved in collections
was the destination of artists from all Society and its founder, Giovanni Battista throughout Europe, a higher figure than
over Europe. Thus prints of Cavalieri de’ Cavalieri. those of most of his contemporaries.
and his pupils soon spread across the
continent. Among the printmakers who Pierre Menard, curator
THE CAVALIERI SOCIETY
88
During Cavalieri’s lifetime printing - as a • MONSTERS OF THE ANCIENT By principle, Cavalieri opposed idealizing
means of reproducing paintings - became AND MODERN WORLD the human being. He also sustained that
popular. Taking advantage of his contacts, The series that began a tradition beauty had whitin it suffering, given its
Cavalieri bought the reproduction scarcity, and that accepting monstrosity
rights of painters such as Michelangelo, It was 1585 when Giovanni Battista de’ would be a path to spiritual sublimation.
Caravaggio and especially Raphael. As an Cavalieri published his masterpiece: His work emphasized the divine order of
editor, Cavalieri had huge influence on the series “Monsters from all parts of the natural defect – Cavalieri would be
popular culture in Rome, contributing to the ancient and modern world”. At that Plato in reverse.
the emergence of what could be called the time, the concept of monstrosity was used
fundamentals of collecting. He edited and both in biology and mythology. In the Many scholars argue that the members
published series of sculptures and busts early sixteenth century, “monster” was of The Cavalieri Society believed in the
reproductions of ancient Rome, collections the medical term applied to people with future of art and aesthetics as an ode to
of portraits of influential bishops, maps of congenital malformation - without having monstrosity. For many art historians, the
newly discovered lands and even project necessarily a negative meaning. In classical search for beauty was the main motivation
plans for new churches. Greco-Roman mythology, “monsters” were of the artists until mid-nineteenth century.
mainly negative beings with forms alien to Today we see with ease deformities found
In his maturity Cavalieri dedicated time the regular natural order. in caricatures, cartoons and even in the
to his creative side. Perhaps because he work of contemporary artists such as Paul
had printed a lot of Renaissance paintings’ Within this context, Cavalieri was one McCarthy and Patricia Piccinini.
reproductions, his art introduced a of the first artists who combined those
completely new iconographic approach two meanings of the term monstrosity. Cavalieri’s series certainly had a huge
instead of the classic idealization of forms In his work, there is no difference influence on contemporary grotesque.
and ideas. Thus he developed his famous between real and imaginary, for all Perhaps Cavalieri knew the ancient
Monsters series. This unusual publication forms of thinking perform equal roles monsters were his and that modern
would damage his prestige with the in the narrative. However, it is indeed monsters would be ours.
episcopal leadership. But the Cavalieri’s Cavalieri’s imagination that contributes
courage would be secretly rewarded to this creative method. His imaginary
the excited minds and hands of a new monsters are collages of body parts, whether
generation of artists. human or animal, arranged in seemingly
random manner. Only after the creation
Cavalieri passed away in 1601, 16 years after of the monster Cavalieri would define the
the publication of his monsters. He was meaning of monstrosity. This method is
survived by two sons and a historic legion certified by Giorgio Vasari’s testimony in his
of followers. encyclopedia of Italian printmakers of the
sixteenth century.
89
• PRINTS FROM THE SERIES “MONSTERS FROM
ALL PARTS OF THE ANCIENT AND MODERN WORLD”
by Giovanni Battista De’ Cavalieri
GIOVANNI BATTISTA DE’ CAVALIERI GIOVANNI BATTISTA DE’ CAVALIERI GIOVANNI BATTISTA DE’ CAVALIERI
(1526–1597) (1526–1597) (1526–1597)
Villa Lagarina, Italy / Rome, Italy Villa Lagarina, Italy / Rome, Italy Villa Lagarina, Italy / Rome, Italy
Title page from the series “Monsters from “Ethiopian friend of himself ” from the “Wonderful Danubian Monster” from
all parts of the ancient and modern world” series “Monsters from all parts of the the series “Monsters from all parts of
Engraving, 1585 • British museum ancient and modern world” the ancient and modern world”
Engraving, 1585 • British museum Engraving, 1585 • British museum
THE CAVALIERI SOCIETY
90
GIOVANNI BATTISTA DE’ CAVALIERI GIOVANNI BATTISTA DE’ CAVALIERI GIOVANNI BATTISTA DE’ CAVALIERI
(1526–1597) (1526–1597) (1526–1597)
Villa Lagarina, Italy / Rome, Italy Villa Lagarina, Italy / Rome, Italy Villa Lagarina, Italy / Rome, Italy
“Human inhabiting ferocious griffin” “Ethiopian monster who wakes up early” “Human and worker Rooster” from the
from the series “Monsters from all parts from the series “Monsters from all parts series “Monsters from all parts of the
of the ancient and modern world” of the ancient and modern world” ancient and modern world”
Engraving, 1585 • British museum Engraving, 1585 • British museum Engraving, 1585 • British museum
91
• PRINTS MADE BY CAVALIERI
SOCIETY MEMBERS
92
JACOB VAN RUISDAEL (1628 - 1682)
GIOVANNI BENEDETTO CASTIGLIONE HAARLEM, NETHERLANDS /
REMBRANDT VAN RIJN (1606 - 1669) (1609 - 1664) AMSTERDAM,
LEIDEN, THE NETHERLANDS / GENOVA, ITALY / MANTOVA, ITALY THE NETHERLANDS
AMSTERDAM, THE NETHERLANDS THE DREAM OF JOSEPH THE FOURTH WORD OF CHRIST
BABYLON SHALL READ JEREMIAH ETCHING, 1638 ETCHING, 1650
ETCHING, 1630 THE PRINTING MUSEUM OF GENOA THE PRINTING HOUSE OF HAARLEM
THE HAARLEM HOUSE OF PRINTING
Rembrandt’s graphic works were well known Jacob van Ruisdael is recognized as
Jacob van Swanenburgh, a prominent throughout Europe during the first half a landscape master painter, focusing on
master of painting and printing in Leiden, of the seventeenth century. That historical motifs such as woods and forests, where
donated a copy of Cavalieri’s Monsters influence pushed Giovanni Benedetto Cas- there would hardly be any room for the
series for the local university in the early tiglione to join The Cavalieri Society in his symbolic. In his youth, though, Ruisdael
seventeenth century. Of all his students, hometown of Genoa. His studies within was an active member of the Dutch session
those most devoted to the graphic arts were The Society symbolism led him to integrate of The Cavalieri Society. Initiated by his un-
initiated in The Cavalieri Society. Unsur- The Alemedista Movement, a Christian cle, Salomon van Ruisdael, also a printmak-
prisingly, Rembrandt van Rijn, the most heretical group that used Orientalists er, Jacob produced prints depicting biblical
celebrated of them, was also one of the symbols to praise the Christ. scenes in the forests of his native country.
most devoted printmakers of The Society. A New Christian, Jacob would regard the
The picture seen here is a sample of Cas- monsters as spirits of the nature, where the
Despite relocating to Amsterdam, where he tiglione’s Alemedista iconography, where diabolical evil and divine goodness coexist.
would gain fame and wealth, Rembrandt the Virgin in Joseph’s dream is seen as the
would never forget Cavalieri. When nego- Mother of the Justice, holding the all-seeing In this print of heretical connotations, Jacob
tiating the painting of what would become eye. Likewise, The Virgin Mary is also van Ruisdael shows the Christ crucified
“The Night Watch”, he demanded the seen as the Mother of Life, something that on a tree, with snakes, birds and monsters
Cavalieri’s Monster series owned by Franz Castiglione demonstrates by using the Vedic in the landscape, perhaps recalling the
Banning Cocq as part of his payment. symbol of the bovine snout. The Child Jesus temptations that Jesus experienced in the
This copy today belongs to the Prints De- is pictured with several symbols attached desert. This work would influence Goya
partment of the Damrakmuseum to him, as a super-divine being who would to create his print “The sleep of reason
in Amsterdam. bring peace and salvation to all beings produces monsters”.
on Earth.
93
PRINCE RUPERT OF THE RHINE
(1619 - 1682)
PRAGUE, CZECH REP. / KASSEL,
STEFANO DELLA BELLA (1610 - 1664)
GERMANY
FLORENCE, ITALY / FLORENCE , CORNELIS DUSART (1660 - 1704)
A MONSTER LORD
ITALY HAARLEM, NETHERLANDS /
MEZZOTINT, 1652
FIVE DEATHS HAARLEM, NETHERLANDS
METROPOLITAN MUSEUM
ETCHING AND ENGRAVING, 1661 THE WOMAN, HER HUSBAND AND
OF BOSTON
DAHLEM MUSEUM HER LOVER
Rupert, Count Palatine of the Rhine, Duke ETCHING, 1685
Born in Florence, Stefano Della Bella was THE PRINTING HOUSE OF HAARLEM
of Bavaria, commonly called Prince Rupert
one of the most prolific printmakers in art
of the Rhine, was a soldier, inventor and
history, with over 1,000 of his works only in Heir to the long tradition of Dutch genre
amateur mezzotint engraver. He had a
the British Museum collection. His subjects painting, Cornelis Dusart was a pupil of
very varied career. At the age of 23, was
ranged from court and military scenes, Adriaens van Ostade , also a member of
appointed as commander of the Royalist
landscapes and decorative patterns. One The Cavalieri Society’s Dutch session. While
cavalry during the English Civil War.
of Cantagallina Remigio’s alumni, Della studying the work of Cavalieri, Dusart pro-
Rupert surrendered after the Battle of
Bella joined the The Cavalieri Society duced several prints depicting monstrosities
Naseby and was banished from England.
influenced by the art of Jacques Callot, coupled to everyday scenes.
He stayed for a while in the Royal forces
who also studied with Remigio. By these
while in exile, first in land and then at sea.
days, he made several prints depicting Here we see one of these prints. In the scene
Then Rupert became a buccaneer in the
battles between small monsters. there are a woman with cuttlefish hands,
Caribbean. Following the restoration,
a mollusk similar to a squid. Her husband,
returned to England, becoming naval
Later in his life, Stefano Della Bella found who seems convinced by the viscosity of the
commander, inventor, artist and first
himself attracted by the life in the court and woman’s hands, firmly holds one of her lov-
Governor of Hudson’s Bay Company.
became one of Medici’s protegès. That was er’s hand, here represented as a giant larva.
when he made his work more palatable
As an artist, Rupert devoted himself almost
for the taste of the aristocracy. At an older
exclusively to the mezzotint technique,
age, Della Bella resumed working at the
a method consisting of making rough the
monsters of his earlier career. The print
plate’s surface so that it’s capable to retain
seen here is part of a series of five represen-
the ink and to give a perfectly black copy.
tations of Death. Della Bella paid homage
His interest in art led him to discover
THE CAVALIERI SOCIETY
94
GIOVANNI BATTISTA TIEPOLO
(1696 - 1770)
VENICE, ITALY / MADRID, SPAIN
THE BACCHAE FACES
ETCHING , 1716 MARCO PITTERI (1703 - 1767)
PILAR MUSEUM VENICE, ITALY / VENICE, ITALY
THE TRINITY
A man of cosmopolitan and erudite soul, ENGRAVING, 1751
Tiepolo was a great artist of the Venetian ART GALLERY OF ONTARIO
Republic. He opened The Cavalieri Society’s WILLIAM HOGARTH (1697 - 1764)
LONDON, UNITED KINGDOM / With over a thousand years of history,
branches in Venice, Toulouse and Madrid.
LONDON, UNITED KINGDOM the Republic of Venice had throughout
Tiepolo worked with classical mythological
GULIELMUS HOGARTH its existence its harbour open to the East,
themes and was also a precursor of the
ENGRAVING AND ETCHING, 1743
rococo in painting. operating in mutual business cooperation
BRITISH GALLERY OF BRISTOL
with the Ottoman Empire. Having exclusive
The work of Cavalieri impressed a 20 years rights to import consumer goods to Europe,
One of the most prominent artists in
old Tiepolo during a brief trip to Rome. Venice also played a role in the cultural
The Cavalieri Society, William Hogarth,
Born in a wealthy merchant family, he was exchange with the Orthodox Christianity
a painter and graphic artist, was also a
able to publish the work of Cavalieri in under Ottoman rule.
precursor of caricatures, cartoons and social
Venice along with his friend Filippo criticism in art. He is recognized as one of
Veronese. Tiepolo saw monstrosity as a key Thus Venice preserved decorative objects,
the fathers of the comic books. Although in
element in human aesthetic experience, manuscripts, relics and works of art of the
his work Hogarth did not make much use of
in which the imperfection should serve as ancient Byzantine Empire. Such cultural
the monstrosity, he was directly influenced
an ornament for pain and suffering. Later richness had major influence on Venetian
by Giovanni Battista de’ Cavalieri’s art.
in life, when he went on to work for the artists. Marco Pitteri, one of the most virtu-
Spanish Royal Family, Tiepolo brought his osi printmakers in Venice, took inspiration
Like many members of The Cavalieri
old graphic production, which would have on the heretical iconography of the Ortho-
Society, Hogarth dedicated himself the
strong influence on Spanish artists such dox Church, which represented the Trinity
most on creating imaginary monsters in his
as Goya. as one God with three faces. Previously
first years as artist. That experience would
a member of The Society, Pitteri certainly
influence the satirical approach of his forth-
knew Cavalieri’s belief, who saw monstros-
coming works. After studying Cavalieri’s
ity as a spiritual edification way. With the
method, Hogarth popularized the art of
master in mind, he made the Italian version
picturing moral or physical deformities.
of the three headed Trinity icon.
The print seen here was based on the best-
known self-portrait of the artist. Hogarth THE CAVALIERI SOCIETY
pictured a drunken bear’s head in place
of his own, lampooning himself for being
an artist accepted by the aristocracy.
95
FRANCISCO DE GOYA (1746 - 1828)
FUENDETODOS , SPAIN /
BORDEAUX, FRANCE
IS THERE NO ONE TO UNTIE US?
ETCHING AND DRYPOINT, 1778
PILAR MUSEUM
96
CHARLTON NESBITT (1775 - 1838)
SWALWELL, UNITED KINGDOM /
FREDERICO GUILHERME BRIGGS
LONDON, UNITED KINGDOM
(1813 - 1870)
THE MONSTERS BEAT HUDIBRAS
RIO DE JANEIRO, BRAZIL /
WOODCUT, 1801
RIO DE JANEIRO, BRAZIL
SUNDERLAND ART MUSEUM
HONORÉ DAUMIER (1808 - 1879) CUSTOM-HOUSE CAR
MARSEILLE, FRANCE / PARIS, LITOGRAPHY, 1836
Charlton Nesbitt was a English illustrator PUBLIC LIBRARY OF RIO DE
FRANCE
and printmaker, member London’s The THE GREAT MASK JANEIRO STATE
Cavalieri Society and disciple of Thomas LITHOGRAPHY, 1831
Bewick, his colleague in the group. Nesbitt TOULOUSE ART GALLERY A son of an English merchant, Frederick
and Bewick both dedicated themselves to William Briggs was among the first students
the scientific illustration and the production Honoré Daumier stepped in as a cartoonist of the Imperial Academy of Fine Arts in Rio
of symbolic monsters. The print seen here when the political cartoon had already de Janeiro. Upon completing his studies, he
uses the poem ‘Hudibras’, by Samuel Butler, conquered its space in newspapers of Paris traveled to England and took contact with
as motif. It is an example of Nesbitt’s use and London. Michel Faivre, art editor at the London session of The Cavalieri Society
of the ornithology (the branch of biology “La Caricature” magazine, recognized the through Jeremiah Gillray. Very impressed
dedicated to the study of birds) to create mordacity in the young artist’s style and in- by the work of Cavalieri and his followers,
imaginary monsters that attack the vited him to The Cavalieri Society of Paris. Briggs returned to Brazil decided to create
anti-hero Hudibras. Daumier took notice of Cavalieri’s work and monsters of tropical manners.
started adding collages and deformities in
his portraits of Parisian typical characters. The illustration here is the most recognized
example of Briggs’s work. “Custom-house
During the brief years of press freedom in car” portrays an ordinary figure in the
the 1830s, Daumier added the Cavalieri’s slaves’ imagery, the “Slaveholder’s Dame”,
method in the satirical picture of French being carried in a kind of Carnival’s car to
political class. The lithography seen here is the port of Rio de Janeiro. Alexandre Mano-
a good example: Daumier portrayed several el de Holanda speculates that this fantastic
French politicians in a single monstrous being would be a popular mystification of
body, which results in a being of a thousand the famous Chica da Silva (a freed black
faces to deceive and a thousand mouths to slave that reached a high social position in
swallow the people. He eventually turned the colonial eighteenth century Brazil).
away from the political cartoon after being
arrested, in 1832, convicted for drawing a
monstrous caricature portraying King Louis
Philippe as a three-faced head. Daumier’s
THE CAVALIERI SOCIETY
97
JOHN TENNIEL (1820 - 1914) ANDERS ZORN (1860 - 1920)
LONDON, UNITED KINGDOM / MORA, SWEDEN / STOCKHOLM,
JAMES MCNEIL WHISTLER
LONDON, UNITED KINGDOM SWEDEN
(1834 - 1903)
THE FEDERAL PHOENIX THE GRACE
LOWELL, UNITED STATES /
LITHOGRAPHY, 1864 ETCHING, 1879/1910
LONDON, UNITED KINGDOM
METROPOLITAN MUSEUM TOULOUSE ART GALLERY
PRELUDE AND FUGUE
OF BOSTON
ETCHING AND DRYPOINT, 1859
ART GALLERY OF ONTARIO Anders Zorn was a Swedish painter, sculp-
Sir John Tenniel is perhaps best known as tor and printmaker, famous for the quality
Whistler learned the etching technique even the illustrator who gave life to the imagi- of his portraits and his photographic ob-
before starting to paint. While serving the nary world of Alice in Wonderland. How- session with the light. Formed at the Royal
US Army as cartographer, he would reuse ever, few people know that Carroll was also Swedish Academy of Arts, he complemented
the back of copper plates to record images inspired by the work of Tenniel. A prodigal his studies in several trips to Berlin, London
in open air. That experience set him in love member of The Cavalieri Society of London and Paris. At the French capital Zorn met
with arts and become a great supporter of since 1840, Tenniel made for the “Punch” The Cavalieri Society due to an indica-
the “art for art’s sake”. Whistler would make magazine some illustrations of imaginary tion of Jean -Pierre Corot. Anders Zorn
contact with The Cavalieri Society in his beings that got stuck in Carroll’s mind. produced at least ten prints of Cavalieri’s
first trips to London. monsters.
Even in his later years Tenniel did not forget
Whistler’s interest on Cavalieri, however, the work of Cavalieri. In the illustration The work seen here is an example of the
was short lived. He produced only four seen here, Tenniel used Cavalieri’s technique interest that the members of The Cavalieri
prints inspired by Cavalieri’s monsters. to create a Abraham Lincoln’s caricature Society in Paris had for the syncretism
In the work seen here Whistler depicts as a mythical phoenix. His political car- between their master’s monsters and the
his lover Joanna Hiffernan, naked, in toons, based on Cavalieri’s method, set resumption of motifs from the Greco-Roman
overlapped drawings. According to words a standard both in England and mythology. By taking the goddesses of Grace
the artist himself, Joanna represents in the United States. as a motif, Zorn diverts from the usual
a woman loving herself, sentenced to the representation of the Three Graces. His
THE CAVALIERI SOCIETY
98
JAMES ENSOR (1860 - 1949)
OSTEND, BELGIUM / OSTEND,
BELGIUM
PECULIAR INSECTS
DRYPOINT, 1885
METROPOLITAN MUSEUM
OF BOSTON
ODILON REDON (1840 - 1916) With the twentieth century right after the
BORDEAUX, FRANCE / corner, young artists’s interest on ancient
PARIS, FRANCE printmakers was declining. One of the few ERNST LUDWIG KIRCHNER
THE SPIDER-MAN (1880 - 1938)
who still had fondness with the creative
LITHOGRAPHY, 1887 ASCHAFFENBURG, GERMANY /
methods of the past was the painter and
TOULOUSE ART GALLERY DAVOS, SWITZERLAND
printmaker James Ensor. His explosive
CAVALIERI’S WOMAN
temper made Ensor a person difficult to
Unlike most artists of The Cavalieri Society, WOODCUT, 1903
get along with. However, he owes much of
Odilon Redon only discovered the work of KIRCHNER MUSEUM OF DAVOS
his imagery to the Symbolism of Redon and
Cavalieri later in his life - but the impact
the works of artists of The Cavalieri Society. Ernst Ludwig Kirchner, alongside with
would be profound. After serving in the
Franco-Prussian war, Redon took up resi- Fritz Bleyl, Erich Heckel and Karl Schmidt-
Without ever being an effective member Rottluff, founded Die Brücke (The Bridge),
dence in Paris. After starting a friendship
of the Society, Ensor took possession of one of the main currents of the Expression-
with Jean-Pierre Corot that would last
various elements of Cavalieri’s method. ism. The group’s name represented one of its
years, he was invited to join The Society.
The picture seen here is a self-portrait of artistic goals - establish a bridge between
Soon after learning about the celebrated
the artist as an insect, in what could be the art of the past and of the future. Amid
series of monsters by Cavalieri, Redon
a reference to Norblin de la Gourdaine. The the original members of Die Brücke, Kirch-
would produce drawings and prints of
print also makes reference to Cavalieri by ner was the most devoted to the art of the
fantastic and irreal beings.
placing one of the master’s monsters in the past. Although he had not taken part at The
background. Although he produced works Cavalieri Society, Kirchner copied some of
This lithography is part of a series of unusu-
with this satirical symbolism throughout his the master’s monsters during his studies at
al monsters in which insects, fish and other
career, Ensor would not leave his method the Dresden School of Architecture. Many
animals would be called upon by Redon
to any pupils. of the Expressionist artists would borrow
to take part in the symbolic alphabet end
of the last years of the nineteenth century. their motifs from Symbolist artists, whose
The Symbolism would have a survival work were closer to Cavalieri’s.
thanks to Redon’s use of the Cavalieri’s
method of creating images. After the outbreak of World War I, not
many artists were interested on keeping
THE CAVALIERI SOCIETY
99
POSFÁCIO
• A VERDADE, SEJA ELA ATROZ OU BANAL,
É QUE A SOCIEDADE CAVALIERI NUNCA EXISTIU.
PIERRE LAPALU
1. Cf. KERN, Keila. Marcel Broodthaers - Museu de Arte Moderna Departamento das Águias - Agora em Português.
Tese de doutorado. PPGAV-ECA-USP, 2014, p. 408.
2. CRIMP, Douglas. Sobre as ruínas dos museus. São Paulo: Martins Fontes, 2008, p. 14, 41-58.
3. FOUCAULT, Michel. A verdade e as formas jurídicas. Rio de Janeiro: NAU Editora, 2002, p. 114.
4. FOUCAULT, op. cit., p. 115-122.
5. FOUCAULT, op. cit., p. 119.
1. Cf. KERN, Keila. Marcel Broodthaers - The Museum of Modern Art, Department of Eagles - Now in Portuguese.
PhD thesis. PPGAV-ECA-USP, 2014, p. 408.
2. CRIMP, Douglas. On the Museum’s Ruins. São Paulo: Martins Fontes, 2008, p. 14, 41-58.
3. FOUCAULT, Michel. Truth and Juridical Forms. Rio de Janeiro: NAU Editora, 2002, p. 114.
4. FOUCAULT, op. cit., p. 115-122.
5. FOUCAULT, op. cit., p. 119.
A SOCIEDADE CAVALIERI
113
PINTURA DE GUSTAVE COURBET
UTILIZADA NA COMPOSIÇÃO
DA GRAVURA DA SOCIEDADE
CAVALIERI. A MODELO JOANNA
HIFFERNAN APARECE TANTO NA
PINTURA DE COURBET QUANTO
NA GRAVURA DE WHISTLER.
114
GRAVURAS ORIGINAIS DE MARCO PITTERI, DA SÉRIE DE RETRATOS
DE SANTOS APÓSTOLOS
Original engravings by Marco Pitteri from the series “The Holy Family and Apostles”
A SOCIEDADE CAVALIERI
115
GRAVURA ORIGINAL DE ERNST
LUDWIG KIRCHNER
116
•
PRESIDENTA DA REPÚBLICA
MINISTRO DA FAZENDA
Joaquim Levy
Miriam Belchior
ARTISTA
Pierre Lapalu
COORDENAÇÃO DO PROJETO
PROJETO GRÁFICO
Cyla Costa
ESTE TRABALHO ESTÁ LICENCIADO
ATRIBUIÇÃO-NÃOCOMERCIAL-
Ricardo Perini COMPARTILHAIGUAL 4.0 INTERNACIONAL
REVISÃO E TRADUÇÃO > PARA VER UMA CÓPIA DESTA LICENÇA, VISITE
http://creativecommons.org/licenses/by-nc-sa/4.0/
Rafael Moro Martins
TEXTOS POSFÁCIO
Distribuição gratuita.
Comercialização Proibida.
PRODUÇÃO PATROCÍNIO