Who painted Officer with Feathers in Cap, Seen from Behind?

Officer with Feathers in Cap, Seen from Behind was painted by Jacques Callot in 1622.

Where can I see Officer with Feathers in Cap, Seen from Behind?

Officer with Feathers in Cap, Seen from Behind is held by National Gallery of Art.

What movement is Officer with Feathers in Cap, Seen from Behind?

Officer with Feathers in Cap, Seen from Behind is associated with Baroque.

Artwork

Officer with Feathers in Cap, Seen from Behind

Jacques Callot , 1622

Officer with Feathers in Cap, Seen from Behind 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 in 1622, this etching on laid paper presents a rear‑view of two 17th‑century figures.

About this work

Overview

Created in 1622, this etching on laid paper presents a rear‑view of two 17th‑century figures. The left figure wears a long coat, boots and a feathered cap; the right figure is similarly dressed but with a shorter coat. Both extend their arms outward, as if indicating something beyond the picture plane.

Subject & Meaning

The composition isolates the two men in a moment of pause, contrasting their stillness with the tumultuous activity suggested in the distant background. The gesture of pointing implies a focus on an unseen event, inviting viewers to contemplate the relationship between the individual and the larger scene.

Technique & Style

Executed with Callot’s characteristic fine linework, the etching displays meticulous attention to texture—fabric folds, feather details, and the intricate rendering of distant figures and horses. The dense, baroque intricacy of the background underscores the artist’s skill in conveying depth on a flat surface.

History & Provenance

Jacques Callot, a prolific French printmaker from the Duchy of Lorraine, produced more than 1,400 etchings during his career, many of which document military life and contemporary society. This work belongs to his series of military subjects, reflecting his ongoing interest in the human condition within early‑modern warfare.

Context

The early 1620s saw heightened military activity across Europe, and Callot’s prints often served both as visual records and as commentary on the era’s social dynamics. The inclusion of a chaotic background scene aligns with baroque tendencies to juxtapose order and disorder within a single frame.