Who painted Ornamental Panel Surmounted by Two Putti and a Vase?

Ornamental Panel Surmounted by Two Putti and a Vase was painted by Michel Dorigny in 1647.

Where can I see Ornamental Panel Surmounted by Two Putti and a Vase?

Ornamental Panel Surmounted by Two Putti and a Vase is held by National Gallery of Art.

What movement is Ornamental Panel Surmounted by Two Putti and a Vase?

Ornamental Panel Surmounted by Two Putti and a Vase is associated with Baroque.

Artwork

Ornamental Panel Surmounted by Two Putti and a Vase

Michel Dorigny , 1647

Ornamental Panel Surmounted by Two Putti and a Vase is an ink print by the Baroque artist Michel Dorigny. It dates from 1647 and is held in the collection of the National Gallery of Art.

About this work

Overview

Ornamental Panel Surmounted by Two Putti and a Vase is a print created by Michel Dorigny in 1647, combining etching and engraving techniques on laid paper. The monochrome work features intricate, swirling details that evoke a carved stone appearance through meticulous line work and shading.

Subject & Meaning

The composition centers on two putti (winged children) supporting a florid vase atop a pedestal, which also bears a globe and intertwined stonework-vine motifs. While the putti and globe may imply symbolic undertones, the primary focus lies in the demonstration of artistic technique.

Technique & Style

Dorigny achieved a three-dimensional illusion through precise control of lines, curves, and shadows, manipulating light and depth on a two-dimensional surface. The interplay of etching and engraving techniques enabled the sharp, layered quality of the print.

History & Provenance

Created in 1647 by Michel Dorigny, specific details regarding the print's historical ownership or exhibition history are not provided in the available information.

Context

This work reflects the Baroque era's penchant for ornate decoration and the artist's skill in capturing complex textures and volumes on paper, a characteristic of 17th-century European printmaking.

Legacy

The print showcases Dorigny's mastery of etching and engraving, contributing to the broader appreciation of these techniques in achieving detailed, high-contrast images during the Baroque period.