COPPERPLATE ENGRAVING – “THE NIGHT” also known as “THE NATIVITY” from the original painting by Antonio Allegri Correggio, and engraved by T. Langer, and published in the mid 1800’s.  The means by which a copperplate is engraved gives it more detail and depth to the picture.  Copperplate engravings are seen as the most perfect means of reproducing a painting or other forms of visual art, thus giving it the most artistic value of any form of engraving.  This engraving is in very good condition.  The actual engraving measures 7 ¾” x 5 ¾”, and is matted to 16” x 20” for easy framing. 

       There is no artist of former times, about whom opinions so widely differ, as about Correggio, who is sometimes immoderately extolled and imitated as the painter of the Graces, sometimes cried down as the father of mannerism.  He is, no doubt, a painter of a peculiar and independent character, who marks a turning point in the history of art.  His works are, as it were, a protest of colour, of modern individual feeling against the plastic element of outline, until then predominating in Italian art, and against the coldness of abstract beauty.  His works unmistakably prove him to be an artist richly endowed by nature, and of a lyrical turn of mind.  He imbues his subject with the glow of a well stocked mind, and knows how to seize and represent in his pictures the luxuriance of the living forms, wrought by the skilful hand of nature, with more ardour than any of his predecessors or contemporaries had ever done before; but in doing so he often borders on the very verge, beyond which individual feelings are indulged in at the expense of truth and reality.  This is the case chiefly when the artist’s excitable fancy, naturally leaning to sensuousness, is heated by religious subjects, which no longer have any effect on Correggio’s mind, and in treating which he often loses sight of, or is in direct opposition, to the character of the subject represented.  The peculiar development and formation of his individuality is to be accounted for by the circumstances under which he grew up, unbiased by any master of great power and ascendency.  We know very little of the artist’s life, which is owing to his native town, Modena, having but rarely come in contact with the artists transaction of those times.  We are better informed about the chronology of his pictures.  One of his most celebrated works, known by the name of ‘the Night’, was painted by Correggio in 1528, to fulfill an engagement of many years standing, having promised in the year 1522, to a certain Alberto Pratonero in Reggio, to paint for him the nativity of Christ, for which he had stipulated for the sum of 208 lire, and for this modest price he painted that priceless picture.

    The idea of the picture is, to make the light emanate from the Infant Christ alone; He being the Light, that has come into the world to enlighten it.  The effect of the picture, chiefly produced by the concentration of the light, which is worked out with great care and skillfulness, in no way interferes with the expressions of the different figures.  It is evident that Correggio, is laying so much stress on the Madonna being represented with all the attributes of motherhood, was fully aware of the necessity of doing full justice also to the spiritual element of a picture, so striking by the magic effects of its lights.  With the expression of a mother’s delight in her face, the Madonna is bending over the Infant Christ, who, radiant with light, is stretching out His arms to her and the whole world.  The herdsman, curious and dazzled by the light, and startled by the miraculous sight, which they cannot account for, are crowding round the manger, whilst the heavenly hosts appear above singing: ‘Glory be to God on high, and on earth peace, and good will among men!’  The effect of the whole picture is hightened by the indication of the rising day, which in the distant background begins to dawn, thus faintly reflecting the wonderful impression produced by the scene in the foreground.  Those who are anxious to criticize the picture might perhaps be justified in finding fault with the movements of the arms and legs of a somewhat motley crowd of angels being rather too violent.  Such critics would remind us of that pious padre in Parma, who, instead of expressing his feelings of admiration, when the picture on the ceiling was uncovered, said to Correggio: ‘Voi ci avete fatto un guazzeto di rane!’ (A nice ragout of frogs that you have made there!)  Also St. Joseph in the background, endeavouring to keep back his donkey, startled by the miraculous appearance, and sniffing the morning air, might be considered rather too grotesque, but neither do the angels, nor the last mentioned group spoil the powerful effect of the picture, which charms and attracts irresistibly by the light, proceeding from the Infant Christ, reflected by the objects around, and then fading away in the distance. These magic blendings of the light and shade, called clare-obscure (chiaro-oscuro), have often been employed by Correggio in painting his pictures; in the one before us he shows himself as its greatest master.  Many painters of the 15^th century have tried to avail themselves of this peculiar kind of colouring for the sake of making some particular parts of their pictures stand out more prominently.  It was chiefly Leonardo da Vinci, who employed the ‘chiaro-oscuro’ before Correggio, and who seems to have had more influence on Correggio, than any other painter.  But Correggio was the first, who, in employing the clare-obscure, made it the predominant feature of the whole picture by laying the whole stress upon it.  Correggio has forever endowed his pictures with an unequalled charm, by the way in which he knew how to develop and improve the art of chiaro-oscuro in painting his pictures.

                                                                                                By Carl Clauss

IMPORTANT TO NOTE

Antique prints, engravings, and lithographs are printing processes, which use steel, copper, stone or wood blocks or plates to produce a picture on paper.

Most antique prints and engravings, which are seen on the internet today, are bookplates.  Because they are pages from a book, there are multiple copies in existence.  This does not, however, mean that they are "reproductions" that have been printed recently.  Because they were, at some point, part of books, some have been preserved in excellent condition, while others show signs of age, as yellow spots or darkness on the edge of the page from being handled.

Engravings, and lithographs are high quality pieces of art, as it took a highly trained artist many hours of work to produce one.  Although there may be multiple copies still in existence, the date of the item should be stated in the auction, thus giving the buyer an idea of its age.