Upturned face
The soft, rounded face tilts up and to the side, with pale golden hair. It gives the flying figure a calm, dreamy look.

“Stop to appreciate the dramatic play of light and shadow in this etching. The innovative use of aquatint creates a striking sense of depth, making the winged figure seem to float right off the page.”
A solitary winged figure dominates this small etching, poised in mid-air against a dark, undefined background. The figure, possibly an angel or putto, is rendered with a dynamic sense of movement, its limbs outstretched and drapery swirling around it. The use of aquatint creates a soft, grainy texture that gives depth to the shadows and highlights the figure's form, making it seem to emerge from the darkness. This technique, relatively new in the mid-18th century, allowed for tonal variations akin to a wash drawing, lending the print a painterly quality. Stefano Mulinari, active in Florence, produced a number of religious and mythological etchings, and this work shares the dramatic chiaroscuro seen in his other prints of the period.
Five details hide in plain sight. Pick one and we’ll show you exactly where to look.
The soft, rounded face tilts up and to the side, with pale golden hair. It gives the flying figure a calm, dreamy look.
Look at the pressed palms held above the head. The pose could suggest prayer or longing, and it pulls the whole body upward.
The torso and thigh are lit with smooth, pale tones that fade into shadow. This gentle modeling makes the body look round and solid.
The red drapery sweeps from the shoulder out to the right in a sharp point. It shows speed and gives the one strong color against the dark.
The body runs from the raised hands down to the pointed foot in one long diagonal. Your eye slides along it across the whole picture.
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Italian engraver who transformed devotional scenes into intimate etchings with aquatint and colored washes.
Madonna and Child with Saints Peter and Paul
1750 · The Metropolitan Museum of Art
Saint Jerome in Penitence
1750 · The Metropolitan Museum of Art
Christ standing before an entrance to a city surrounded by apostles addressing a group of men at right
1756 · The Metropolitan Museum of Art
Descent of the Holy Ghost
1760 · The Metropolitan Museum of Art
Flagellation of Christ
1760 · The Metropolitan Museum of Art
Saint John the Baptist with a lamb
1766 · The Metropolitan Museum of Art
Beyond Mulinari: works from the same years.
Same era · 1730s–1760s
Portrait of Madame Anne-Jeanne Cassanéa de Mondonville, née Boucon (1708-1780)
Maurice Quentin de Latour · 1752 · Art Institute of Chicago
Same era · 1730s–1760s
Richard Walker (1679–1764), Vice-Master and Horticulturist
John Theodore Heins · 1751 · Trinity College
Same era · 1730s–1760s
Design for a Lampas Silk with a Triumphal Chariot on a Cloud
Philippe de la Salle · 1765 · The Metropolitan Museum of Art
Same era · 1730s–1760s
Flying Figure Holding a Crown, Reclining River God
Jacques-Louis David · 1760 · The Metropolitan Museum of Art
Same era · 1730s–1760s
Side Chair
Artist Unknown - The Mercat Cross, Aberdeen · 1750 · Art Institute of Chicago
Same era · 1730s–1760s
Medal cabinet
William Vile · 1760 · The Metropolitan Museum of Art
Same era · 1730s–1760s
Hunter with Hounds
Höchster Porzellan-Manufaktur · 1755 · The Metropolitan Museum of Art
Same era · 1730s–1760s
Image of an Empire in Peace and Prosperity
Zhou Kun · 1745 · National Palace Museum
Same era · 1730s–1760s
Landscape
William Wooller · 1763 · Cleveland Museum of Art
Same era · 1730s–1760s
View of Ponte Lugano on the Anio, from Views of Rome
Giovanni Battista Piranesi · 1763 · Art Institute of Chicago