DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.66024#0204
n8 ANGELICA KAUFFMANN
the most popular paintings in Venice, most of which were published by Lovisa.
Amongst these works were engravings after paintings by Titian, Tintoretto,
Veronese, Longhi and others. Moreover, he produced a set of twelve prints
of Venetian costume, which are of importance with regard to the particular
topic with which they deal. This Andrea died in 1740.
His two sons appear to have been Francesco (b. circa 1698) and Carlo (b.
date unknown). The former adopted his father’s profession of an engraver.
He also went to Dresden, not as a scene-painter, but in order that he might
engrave some plates from pictures in the gallery, and most of his important
engravings are from paintings well known and popular in Dresden at the time.
Two of his best were after works by Rubens, one the portrait of a Spaniard, and
the other of one of Rubens’s wives. He died in 1764.
Of the other brother, Carlo, we know very little. He appears to have taken
up his father’s earlier profession as a scene-painter, and also to have produced
some paintings of historic scenes, in conjunction with Fontebasso and Amigoni,
both of whom seem to have been cousins of the Zucchi family. From our
point of view, however, he is most interesting as mainly responsible for the
artistic education of his nephew, Antonio Zucchi (1726-1795), who learned
architectural drawing and perspective from him, and painting in oil from the
two cousins just alluded too.
Antonio had a brother Giuseppe (1730-1790), who was also an engraver,
and to him we have already alluded. The earliest works of Antonio with
which we are acquainted are historic and religious pictures, and in a church
in Venice, St. Jacopo, there is an altarpiece painted by him. He tired of these
large compositions, however, and his handling was more suitable to smaller
work. He painted a few landscapes, and then realised that his metier lay in
decoration, his particular skill being apparent in designs for such work, based
to a certain extent upon the fresco decoration recently discovered in Pompeii.
When Robert Adam, in his twenty-sixth year, set out on his travels to France
and Italy in 1754, he made the acquaintance of two men, who afterwards worked
with him, Clerisseau and Zucchi. Clerisseau he met in Paris. He was
an architect, seven years older than Robert Adam. He won the Grand Prix de
Rome in 1746, and eventually came to London, and exhibited some water-colour
drawings at the gallery in Spring Gardens. He is interesting to Englishmen
from the fact that Sir William Chambers received a considerable amount of
instruction at the hands of this distinguished French architect. Clerisseau
afterwards went to Russia, was appointed Imperial Architect by Catherine II,
and was responsible for the erection of the picture-gallery at Petrograd.
Adam persuaded Clerisseau to go with him to Italy, and eventually the
two men worked together, at Spalato. It seems possible that Robert Adam on
this occasion made also the acquaintance of Zucchi, and that he was one of two
draughtsmen who were certainly with Adam at Spalato. There is not, however,
much authority for this statement. Mr. Swarbrick says that some of the plates
of the book on the Palace at Spalato are certainly inscribed “ Zucchi sculp
the most popular paintings in Venice, most of which were published by Lovisa.
Amongst these works were engravings after paintings by Titian, Tintoretto,
Veronese, Longhi and others. Moreover, he produced a set of twelve prints
of Venetian costume, which are of importance with regard to the particular
topic with which they deal. This Andrea died in 1740.
His two sons appear to have been Francesco (b. circa 1698) and Carlo (b.
date unknown). The former adopted his father’s profession of an engraver.
He also went to Dresden, not as a scene-painter, but in order that he might
engrave some plates from pictures in the gallery, and most of his important
engravings are from paintings well known and popular in Dresden at the time.
Two of his best were after works by Rubens, one the portrait of a Spaniard, and
the other of one of Rubens’s wives. He died in 1764.
Of the other brother, Carlo, we know very little. He appears to have taken
up his father’s earlier profession as a scene-painter, and also to have produced
some paintings of historic scenes, in conjunction with Fontebasso and Amigoni,
both of whom seem to have been cousins of the Zucchi family. From our
point of view, however, he is most interesting as mainly responsible for the
artistic education of his nephew, Antonio Zucchi (1726-1795), who learned
architectural drawing and perspective from him, and painting in oil from the
two cousins just alluded too.
Antonio had a brother Giuseppe (1730-1790), who was also an engraver,
and to him we have already alluded. The earliest works of Antonio with
which we are acquainted are historic and religious pictures, and in a church
in Venice, St. Jacopo, there is an altarpiece painted by him. He tired of these
large compositions, however, and his handling was more suitable to smaller
work. He painted a few landscapes, and then realised that his metier lay in
decoration, his particular skill being apparent in designs for such work, based
to a certain extent upon the fresco decoration recently discovered in Pompeii.
When Robert Adam, in his twenty-sixth year, set out on his travels to France
and Italy in 1754, he made the acquaintance of two men, who afterwards worked
with him, Clerisseau and Zucchi. Clerisseau he met in Paris. He was
an architect, seven years older than Robert Adam. He won the Grand Prix de
Rome in 1746, and eventually came to London, and exhibited some water-colour
drawings at the gallery in Spring Gardens. He is interesting to Englishmen
from the fact that Sir William Chambers received a considerable amount of
instruction at the hands of this distinguished French architect. Clerisseau
afterwards went to Russia, was appointed Imperial Architect by Catherine II,
and was responsible for the erection of the picture-gallery at Petrograd.
Adam persuaded Clerisseau to go with him to Italy, and eventually the
two men worked together, at Spalato. It seems possible that Robert Adam on
this occasion made also the acquaintance of Zucchi, and that he was one of two
draughtsmen who were certainly with Adam at Spalato. There is not, however,
much authority for this statement. Mr. Swarbrick says that some of the plates
of the book on the Palace at Spalato are certainly inscribed “ Zucchi sculp