Who painted Cap. Esgangarato and Cap. Cocodrillo?

Cap. Esgangarato and Cap. Cocodrillo was painted by Jacques Callot in 1622.

Where can I see Cap. Esgangarato and Cap. Cocodrillo?

Cap. Esgangarato and Cap. Cocodrillo is held by National Gallery of Art.

What movement is Cap. Esgangarato and Cap. Cocodrillo?

Cap. Esgangarato and Cap. Cocodrillo is associated with Baroque.

Artwork

Cap. Esgangarato and Cap. Cocodrillo

Jacques Callot , 1622

Cap. Esgangarato and Cap. Cocodrillo is an ink print by the Baroque artist Jacques Callot. It dates from 1622 and is held in the collection of the National Gallery of Art. Cap.

About this work

Overview

Cap. Esgangarato and Cap. Cocodrillo is an etching on laid paper created by Jacques Callot around 1622. The work depicts two giant, winged figures in military attire looming over a scattering crowd, rendered with exaggerated bodily proportions and detailed accessories.

Subject & Meaning

The etching portrays two oversized, militarized figures, Cap. Esgangarato and Cap. Cocodrillo, whose names suggest they may be caricatured representations of real individuals, potentially critiquing their greed or authority through their distorted appearance and the fear they inspire in the crowd below.

Technique & Style

Characteristic of Callot's Baroque printmaking style, the etching features intricate details and a dynamic scene. The use of etching techniques, involving acid and metal plates, allowed for the sharp, precise lines evident in the figures' twisted forms, the crowd's reactions, and the suggested background.

History & Provenance

Created circa 1622 by Jacques Callot, a prolific French Baroque printmaker from Lorraine, this work is part of his extensive oeuvre of over 1,400 etchings, many of which documented and commented on contemporary life, including military themes.

Context

This etching reflects Callot's broader practice of capturing scenes from his era, often incorporating detailed backgrounds and commentary on societal figures. The military attire and exaggerated forms situate the work within the Baroque tradition of expressive and sometimes satirical depictions of contemporary life.