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Ostrich Hunt. From the "Animal Hunts" Series

Stefano della Bella

Basic information

ID: Г-IV-929
Author: Stefano della Bella
Name: Ostrich Hunt. From the "Animal Hunts" Series
Country: Italy
Technique: etching
Material: paper
Dimensions: 16.5 x 22.8 cm (height x width)

Additionally

Type: graphic art
Genre: animal painting
Provenance: Received from the Lviv Historical Museum, 1954

Information about author

Author: Stefano della Bella
Author in the original: Stefano della Bella
Artist's lifetime: 1610–1644
Country: Italy
Biography: Stefano della Bella (Italian: Stefano della Bella; 1610, Florence – 1664, ibid.). A prominent Italian artist, engraver and etcher of the Early Baroque period, Stefano della Bella was one of the most prolific European printmakers of the 17th century. Following the untimely death of his father, the youth began training in a goldsmith's workshop. Around 1623, he moved to the workshop of the engraver Orazio Vanni, where he mastered the basic techniques of printmaking. Later, he refined his etching technique in the workshop of Remigio Cantagallina – the mentor of the famous French master Jacques Callot. Copying Callot's works significantly influenced the formation of della Bella's own refined artistic style.
During this same period, the artist secured the patronage of the Medici family, who supported him throughout his life. In 1633–1639, funded by his primary patron, Prince Lorenzo de' Medici (uncle of Ferdinand de' Medici, Grand Duke of Tuscany), the artist lived and studied in Rome. There, he immediately received major commissions and made numerous sketches of park ensembles, villas, palaces and ancient ruins, which he later incorporated into his engravings.In Rome, della Bella met the French printmakers Israel Henriet and François Langlois, thanks to whom he moved to Paris in 1639. In France, the artist quickly achieved immense popularity, establishing close and successful collaborations with them, as well as with the leading Parisian publisher Pierre Mariette. His etchings were in high demand among European collectors. In 1650, due to anti-Italian unrest in France (the Fronde), the engraver returned to his native Florence. During this late period, he significantly diversified his favourite themes, creating a series of hunting scenes, landscapes with Roman ruins and detailed depictions of horsemen.
Over his lifetime, Stefano della Bella created more than a thousand unique etchings and thousands of drawings. He worked across battle, landscape, animal, ornamental and genre scenes, capturing the events of his time with documentary precision – from the lavish theatrical pageants of the Florentine nobility to the harsh realities of the Thirty Years' War and the everyday street life of European cities. He became famous for his jewelry-fine, filigree-detailed miniature works.

Object description

The work is part of the "Animal Hunts" series (French: "Chasses à différents animaux", Italian: "Cacce di diversi animali"), which consists of nine prints. The author created it shortly after returning to Florence from Paris.
The main space of the composition is occupied by an image of an African ostrich running swiftly to escape its pursuers. The artist details the bird's anatomy – its powerful legs, elongated neck, and the lush, textured plumage of its wings and tail. To the left of the bird, an infuriated hound rushes, catching up with the prey. In the background, a rider on horseback and two hounds are depicted pursuing a second ostrich shown on the right. The space grows in depth thanks to a multi-layered landscape: from the detailed rocky ground in the foreground to the soft hills, trees, and cloudy sky in the distance.
Through the refined mastery of etching the metal plate, the artist imitates various materials: the soft, fluffy feathers of the ostrich, the short coat of the hounds, the folds of the rider's clothing, and the rough surface of the ground.
In the 17th century, there was significant interest in Europe in distant lands and exotic fauna. Artists created series of works demonstrating the hunting of animals and birds unusual for Europeans, satisfying the curiosity of the public of that time. Large flightless birds were considered symbols of overseas countries – Africa and the Middle East. Their feathers were highly valued by the European aristocracy as a luxurious decoration for hats and interiors.

Inscriptions

At the bottom of the print on the left, the author's signature: "S. D. Bella f.".

Legal regulation

Borys Voznytskyi Lviv National Art Gallery