Remigio Cantagallina

Remigio Cantagallina (1582 - 1656) was an Italian etcher active in the Baroque period.

He was born in Sansepolcro, formerly Borgo Santo Sepolcro, in the province of Arezzo. He is best known for his etchings of landscapes and religious subjects, influenced by Paul Bril. He was likely a pupil of the fellow-Florentine Giulio Parigi and Jacopo Ligozzi. In 1612–13 he traveled through the Dutch Republic, the Southern Netherlands, and France, which he documented in detailed drawings in pen and wash of buildings, houses, and cityscapes, complete with persons engaged at work or play in the foreground. His eye caught both the courtly celebrations and the peasant world. He produced detailed views of Brussels and Siena. Jacques Callot was reputed to be a pupil of Cantagallina, before the former moved to Rome to work with Antonio Tempesta. He also likely tutored Stefano della Bella. After 1648, he tutored in drawing the scientist and nature observer Francesco Redi. The engraver Niccolo Angeli was also his pupil.

He painted a Last Supper (1604) for the church of San Bartolomeo (now in Museo Civico) of Sansepolcro; aiding him in this painting was a relative, said to be a brother,[1] Antonio Cantagallina (b. 1616), who distinguished himself as architect in his hometown and Livorno. Another relative, Gianfrancesco (Giovanni Francesco), was also an architect. He died at Florence.

Said to be a pupil of Giulio Parigi, Remigio Cantagallina produced his earliest known works, a series of landscape etchings, in 1603. Relatively little is known of his life and career, which was spent mostly in Florence, although a trip to Flanders between 1611 and 1613 is documented by a number of drawings in a sketchbook today in the Musée Royale des Beaux-Arts in Brussels. Described by Filippo Baldinucci as ‘famous for his landscape drawings in pen’ (‘celebre in disegnar paesi a penna’), Cantagallina was particularly influenced by the work of such Northern artists as Paul Bril. He was, in turn, to be an important influence on the later generation of landscape draughtsmen working in Florence, including Ercole Bazzicaluva, Baccio del Bianco and Jacques Callot, whom Cantagallina seems to have befriended on his arrival in Florence in the early years of the 17th century, and may have helped to train. Among the few pubic works commissioned from the artist were the ephemeral decorations to celebrate the wedding in Florence of the Grand Duke Cosimo II de’ Medici to Maria-Maddalena of Austria, executed in collaboration with Parigi in 1508. Only one painting by Cantagallina is known, however; a very large Last Supper painted with his brother Antonio in 1604, intended for a monastery in his native town of Sansepolcro and now in the Museo Civico there.

Among his plates are landscapes, theatrical decorations, and triumphal entries: two landscapes; one with a bridge, the other with buildings; both dated 1603; Immaculate Conception after Callot; A set of four landscapes (1609); A further set of six landscapes; A set of twelve landscapes and an octagon marked with his initials; a set of six landscapes with his cipher (1624); A set of plates of the Scenes of an Opera after Giulio Parigi; and a set of plates, called the Palazzo della Fame(1608).

A prolific artist, Cantagallina produced a large number of highly finished topographical views of Florence and other sites in Tuscany, drawn with warm brown washes, that are among his finest achievements. Many of these drawings, such as a remarkable large View of Siena in the Uffizi, were almost certainly intended as independent works of art. His draughtsmanship was closely related to his work as a printmaker, and he produced over sixty etchings, mostly of pastoral landscapes and festival scenes. The largest collection of landscape drawings by Cantagallina, numbering more than two hundred sheets, is in the Uffizi in Florence; one of these, a drawing dated 1655, is the artist’s last known dated work.
http://hisour.com/artist/remigio-cantagallina/