The Transfiguration, Nicolas Beatrizet and Tommaso Barlacchi after Raphael, 1541

Der Kampf der Römer Gegen die Daker (The Battle Between the Romans and the Dacians) by Nicolas Beatrizet (1553)

▪︎ A flayed man holding his own skin.

Artist: Attributed to Gaspar Becerra (ca. 1520-1570); Engraver: Attributed to Nicolas Beatrizet (1515 - after 1565); Publisher: Antonio Salamanca (1478-1562) and Antoine Lafréry (1512-1577); From Juan de Valverde de Amusco, Historia de la composicion del cuerpo humano, Roma, 1556, f. M2a (Lib.2, Tab.1)

Date: 1556

Place of Publication: Rome

Medium: Etching and engraving

Scene from 'The Last Judgment' (after Michelangelo Buonarroti) Nicolas Beatrizet (1507/1515–c.1565) and Philippe Thomassin (1562–1622) The Courtauld, London (Samuel Courtauld Trust)

Livio Agresti, Nicolas Beatrizet, Virgin of the Rosary, ca. 1570, engraving

Nicolas Beatrizet, after Michelangelo - The Fall of Phaeton, 1540-66.

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Roman Soldiers Fighting Against Dacians by Nicolas Beatrizet (1553)

First photo

Title: A flayed man holding his own skin

Artist/designer Attributed to: Gaspar Becerra (ca. 1520 - 1570)

Engraved by Attributed to: Nicolas Beatrizet (1515 - after 1565)

Published by Antonio Salamanca (1478 - 1562) and Antoine Lafréry (1512 -1577) From Juan de Valverde de Amusco,

Second photo

Title: Bones of the human skeleton

Artist/designer Attributed to: Gaspar Becerra (ca. 1520 - 1570)

Engraved by Attributed to: Nicolas Beatrizet (1515 - after 1565)

Third photo

Title: De humani corporis fabrica (Of the Structure of the Human Body) 

 John of Calcar (John Stephen Calcar) (Netherlandish, Calcar, Cleves 1499–1546/50 Naples (active Italy)

foreword on the subject

When Andreas Vesalius (1514–1564) first published his radical De humani corporis fabrica (On the Structure of the Human Body), the ancient texts of Aristotle and Galen were still judged authoritative in the medical schools of Europe. By performing his own dissections, Vesalius discovered errors in the ancient authors' teachings. The De humani corporis fabrica, which drew attention to these flaws, initially threatened the academic medical establishment but ultimately won Vesalius admiration and a post as court physician to Charles V, to whom he dedicated the volume. Carefully integrated into Vesalius' text are over 200 woodcuts executed by a skilled group of artists that may have included Jan Steven van Calcar (1499–1546), who trained in the workshop of Titian. No text on anatomy before the Fabrica had ever been illustrated so completely or so well, and although the plates are didactic in intent, they are also rich in aesthetic merit. The frontispiece shows Vesalius himself lecturing to a huge crowd in a grand interior; breaking tradition, he stands directly beside the corpse, dissecting with his own hands. A famous sequence of plates depicts a series of flayed men and skeletons, standing as though in poses of pain or contemplation, in landscapes with distant towns and low horizons. In addition to demonstrating the physical structures of the body, they imply concern for more elusive aspects of the human condition.

Juan Valverde de Amusco - Historia de la composición del cuerpo humano (1556)

The Fall of Phaeton, Nicolas Beatrizet the Younger, 1540-1566, Harvard Art Museums: Prints

Harvard Art Museums/Fogg Museum, Gift of William Gray from the collection of Francis Calley Gray Size: 41.8 × 29.1 cm (16 7/16 × 11 7/16 in.)

https://www.harvardartmuseums.org/collections/object/276093

The Fall of Phaeton, Nicolas Beatrizet, c. 1545, Cleveland Museum of Art: Prints

The original composition for The Fall of Phaeton is a drawing by Michelangelo that was highly coveted during his lifetime. Although Michelangelo did not make prints himself, printmakers widely copied his designs. The dramatic legend of Zeus striking Phaeton and his chariot out of the sky aptly demonstrates Michelangelo’s ability to portray extremely dynamic, twisting bodies, as seen in the figures of Zeus, the tumbling boy and horses, and the startled women bathing in the river below. Size: Sheet: 41.9 x 29 cm (16 1/2 x 11 7/16 in.) Medium: engraving

https://clevelandart.org/art/1965.458

Nicolas BEATRIZET - The Archers Engraving, 242 x 354 mm Graphische Sammlung Albertina, Vienna

BEATRIZET, Nicolas The Archers - Engraving, 242 x 354 mm Graphische Sammlung Albertina, Vienna

Nicolas Beatrizet - The Rape of Ganymede.

Speculum Romanae Magnificentiae: The Ocean God

Nicolas Beatrizet (French, Lunéville 1515–ca. 1566 Rome (?)), 1560

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