The Concise Oxford Dictionary of Art and Artists (83 page)

(1592/3–1635).
French engraver and draughtsman. He went to Italy when he was in his teens and, working in Rome and then in Florence at the court of the Grand Duke Cosimo II, he learnt to combine the sophisticated techniques and exaggerations of late
Mannerism
with witty and acute observation into a brilliantly expressive idiom. In 1621 he returned to France, and most of the remainder of his career was spent in his native Nancy, although he also worked in Paris and the Low Countries. He made a speciality of beggars and deformities, characters from the picaresque novel and the Italian
commedia dell' arte
. In this respect he comes close to
Bellange
, also active in Nancy, but Callot's style was more realistic. His last great work, the series of etchings entitled the
Grandes Misères de la Guerre
, followed the invasion of Lorraine by Cardinal Richelieu in 1633, and is a harrowing depiction of the atrocities of war; its themes and imagery were used as a source by
Goya
. Callot's output was prodigious; more than a thousand etchings and more than a thousand drawings by him are extant, and some of his plates are large, featuring scores of figures. He was one of the greatest of all etchers and one of the first major creative artists to work exclusively in the
graphic arts
.

 
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Calraet , Abraham
.

See
CUYP
.

 
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(
c.
1540–1619).
Flemish painter from Antwerp who emigrated to Italy in about 1562 and remained there for the rest of his life. Calvaert settled in Bologna, and although his work is in an undistinguished
Mannerist
style, he played an important role as a teacher. He established an
academy
in 1572 and had more than 100 pupils, among whom were some of the most distinguished artists of the Bolognese School—
Albani
,
Domenichino
, and
Reni
. The more celebrated academy of the
Carracci
was probably inspired by Calvaert's .

 
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(1799–1883).
English painter and engraver. After five years in the navy, he began to study art, coming into contact with
Fuseli
, Samuel
Palmer
, who became his lifelong friend, and
Linnell
, who introduced him to
Blake
. He became one of the
Ancients
, and under the influence of Blake his imagination was fired, like that of others in the group, to a poetic fervour which was unable to survive the death of the master. The tiny watercolour
The Visionary City
(BM, London) is perhaps the finest of the visionary works he produced during this period. In his later career he painted mostly in oils on paper and after visiting Greece in 1844 developed a sentimental pseudo-Hellenic arcadianism.

 
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camaieu
.

A painting executed in several shades of a single colour; it is distinct from
grisaille
, which is grey or greyish.

 
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(1527–85).
Genoese painter. He was a precocious artist (his highly accomplished frescos in the Doria Palace, now the Prefettura, in Genoa were done in 1544, when he was only 17) and he became the dominating figure in 16th-cent. Genoese painting, running a large and productive workshop. His style derives from
Michelangelo
in the massiveness of his figures and
Correggio
in the softness of his modelling, but the use of dry paint and the simplification of forms are his own. The latter is particularly noticeable in his drawings, which often utilize geometrical forms that give them a superficially
Cubist
look. Another curious instance of antecedence is apparent in his night scenes, which have been claimed as sources for Georges de
La Tour
, even though it is not clear by what route they could have become known to him. In 1583 Luca accepted an invitation from Philip II of Spain to work on decorations at the
Escorial
. He died there in 1585 and was succeeded by Federico
Zuccaro
and then Pellegrino
Tibaldi
.