August 14, 2005
Bracelli
I’ve mentioned Giovanni Battista Bracelli’s book Bizzarie di Varie Figure before. It was originally published in Livorno, in 1624. One would assume the book was not a success, as it exerted no influence, and attracted very little notice until its rediscovery in Paris ca. 1950. Its rediscoverer, Alain Brieux, published a limited facsimile edition of the book in 1963, with a preface by Tristan Tzara.
Despite the rarity and costliness of this edition, I had considered ordering a copy of it, until I discovered that there was another book on Bracelli, written by the art-historian Maxime Préaud, and published by Chêne, Paris, in 1975, which reproduced not only the Bizzarie, but also the remainder of the artist’s known Å“uvre. Some months passed before I could locate a copy of this volume—at a bookseller in Utrecht—and, on our return from vacation Friday night, it was here waiting for me.
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On the title-page of the Bizzarie, Bracelli (or, as he spells it there, Braccelli), styles himself as a pittore fiorentino, a Florentine painter. He dedicated his book to Pietro de’ Medici, who governed Livorno between 1629 and 1635. The book (of which only two complete copies are known), comprises forty-seven engravings, most of which depict a pair of stylised figures, formed variously of boxes, chains, rags, pots, pans, twigs, drums, bells, etc., etc.
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Bracelli also published a second collection of prints entitled Figure Con Instrumenti Musicali E Boscarecci ‘Figures with Musical and Rustic(?) Instruments.’ This comprised twenty-one engravings, again featuring pairs of figures, albeit this time conventional ones, shown holding or playing various types of music-making equipment.
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In addition to these two series, Préaud presents six individual engravings by Bracelli. For me, the most interesting of these is the Alfabeto Figurato, below, which I have briefly mentioned before. The remaining prints depict, respectively, Bernini’s Baldacchino in St. Peter’s Basilica; a statue of St. Longinus; a statue of St. Veronica; an elaborate historical scene showing Attila’s arrival at the gates of Rome; and a classically-inspired Bacchanalian scene.
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hooray ! you're back !
Posted by: tristan on August 14, 2005 11:58 AMBizzarie sure lives up to its title. i wonder what the reasoning behind it was? or who was the intended audience? i wonder what kind of hallucinogens were around in the 1600's? it seems very abstract for its time, though not quite "obvious" enough to be a proper "amusement." dig it.
i second the hooray. how was vacation?
Posted by: jmorrison on August 14, 2005 01:17 PMmaybe involuntarily hallucinating with ergot
Posted by: tristan on August 14, 2005 03:34 PMOui, hourra, vous êtes de retour !
All those great images always, and your subtle and passionates notes, who introduce the reader into an unknown (at least to me, most of the times) or uncommon world. For me, it brings me back to some childhood souvenirs of an old encyclopedia where an analog art was shown, and the marvel I was experimenting looking at "enluminures". Reading you is extending my little universe of knowledge from one note to the other. (hoping that my english is not too hurtfull to read, I'm not always sure of certain terms...)
Would you happen to know if Dali knew about Bracelli ?
After the Red House and the pictures of your native Valley, one is curious about your vacations. But you are, no need to say but..., authorized to privacy.
Posted by: Maridan' on August 14, 2005 08:38 PMGood to have you back!
I am just fascinated with the knowledge and beauty of art you revel to me,
it's an ever going and ever growing state and you findings and this exquisite images, made so long ago, still look so relevant and fresh today!
unbelievable
thank you for sharing this
Posted by: Moon on August 15, 2005 12:05 AM