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. Created circa 1622, this etching on laid paper presents a chaotic tableau of two enormous, winged figures dominating a fleeing crowd.

About this work

Overview

Created circa 1622, this etching on laid paper presents a chaotic tableau of two enormous, winged figures dominating a fleeing crowd. One figure wields a sword, the other a club, their blurred faces emphasizing scale over identity. The composition is anchored by a modest architectural element and sparse trees, while the surrounding masses of tiny people amplify the sense of upheaval.

Subject & Meaning

The print depicts mythic or allegorical captains—named Cap. Esgangarato and Cap. Cocodrillo—who appear as towering, winged warriors crushing a panicked populace. Their exaggerated size and violent gestures suggest a commentary on the destructive power of military leaders, or perhaps a satirical take on contemporary figures, using fantastical imagery to critique social disorder.

Technique & Style

Executed by Jacques Callot, a leading Baroque printmaker, the work employs fine, incisive lines characteristic of his etching practice. The contrast between sharply rendered giant forms and the softer, less detailed background creates dramatic tension. Callot’s mastery of line work allows intricate detailing of the crowd’s movement while maintaining a clear hierarchy of scale.

History & Provenance

Produced in the Duchy of Lorraine during the early 1620s, it reflects the artist’s interest in documenting contemporary life through fantastical lenses.

Part of Callot’s prolific output of over 1,400 etchings, this piece belongs to his series exploring military and social themes. Produced in the Duchy of Lorraine during the early 1620s, it reflects the artist’s interest in documenting contemporary life through fantastical lenses. The print has circulated among collections of Baroque prints, illustrating Callot’s influence on later graphic artists.