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Plate 12: Joshua Mutilates his Enemies' Horses, from 'The Battles of the Old Testament'

ca. 1590–ca. 1610

Medium

Etching

About Antonio Tempesta

1555–1630

Antonio Tempesta (1555–1630) was an Italian painter and printmaker whose prolific output of etchings and engravings established him as a crucial bridge between late Mannerism and the early Baroque, connecting the artistic cultures of Florence, Rome, and Antwerp. Born in Florence and trained at the prestigious Florentine Accademia del Disegno, he became one of the most influential printmakers of his era.

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A shepherd on horseback in the middle of a stream, facing left, dogs, goats and cows follow to left and right, a large tree to left and mountains to right in the background, from 'Four large landscapes' (Quatre grands paysages en hauteur)

ca. 1652–57

Francesco de Medici, Prince of Tuscany

ca. 1634

A procession of horsemen and cannons in the middle ground walking to the left, a cannon and two men to left, from 'Peace and War' (Divers desseins tant pour la paix que pour la guerre)

ca. 1638–43

The massacre of the innocents set against a townscape

1680–1740

Christianity Triumphant over Heresy

ca. 1548–50 (?)

Francesco I d'Este, Wounded in Battle, Continues to Orchestrate the Seige of Pavia, from L'Idea di un Principe ed Eroe Cristiano in Francesco I d'Este, di Modena e Reggio Duca VIII [...]

1659

Francesco I d'Este Orders Fête Decorations, from L'Idea di un Principe ed Eroe Cristiano in Francesco I d'Este, di Modena e Reggio Duca VIII [...]

1659

Christ on the cross, Saint John the Baptist at right, Mary Magdelene and the Virgin at left, after Reni

ca. 1640–88

Plate 3: Boy with a hat touching the face of a girl; from 'Icones ad vivum expressae' after Giovanni Battista Piazzetta

1743

Nessus attempting to take Dejanira from Hercules: Nessus restrains Dejanira on his back while striding to the right, Hercules draws his arrow at left, from the series 'The Labors of Hercules'

1608

Two children playing with a goat in center, turned towards the right, a child satyr sitting atop the goat, the other child gesturing towards the right, a satyr and a woman watching their child ride a goat in the background, an oval composition

ca. 1655–60

Plate 79: Ceres Ordering Erysichthon's Punishment (Ceres ad Famem Mypham in Erisichtonis paenam amandat), from Ovid's 'Metamorphoses'

1606

More by Antonio Tempesta

Explore other works by this artist

The Last Judgment with Christ on a Could above and with the damned below

1600–22

A Hunting Party

ca. 1555–65

Bernardino, from Scelta d'Alcuni Miracoli e Grazie della Santissima Nunziata di Firenze (Selection of Some Miracles and Graces that Occurred in the Church of the Annunziata in Florence)

1611–19

Martino, from Scelta d'Alcuni Miracoli e Grazie della Santissima Nunziata di Firenze (Selection of Some Miracles and Graces that Occurred in the Church of the Annunziata in Florence)

1611–19

Francesco, from Scelta d'Alcuni Miracoli e Grazie della Santissima Nunziata di Firenze (Selection of Some Miracles and Graces that Occurred in the Church of the Annunziata in Florence)

1611–19

Sino, from Scelta d'Alcuni Miracoli e Grazie della Santissima Nunziata di Firenze (Selection of Some Miracles and Graces that Occurred in the Church of the Annunziata in Florence)

1611–19

Plate 105: Diana aiming her bow toward Chione, who is accompanied by two children, in another scene at left Mercury approaches the sleeping Chione, from a series illustrating 'The Metamorphoses' of Ovid

1606

Six Cavalrymen in Combat, from Battle Scenes I

ca. 1590–1630

Plan of the City of Rome. Part 12 with the Southwestern Border of the City and a Large Cartouche with Signature by Tempesta.

1645

Plan of the City of Rome. Part 11 with the San Pancrazio (left bank)

1645

Plan of the City of Rome. Part 10 with the Tiber and the Villa Farnesina

1645

Plan of the City of Rome: sheet 9 with the Piazza Navona, the Campo di Fiore and the Sant' Onofrio

1645