Friday 26 November 2021

Marcantonio Raimondi - part 4

An important Renaissance engraver, Raimondi's first prints stem from ca.1500-1505 and show both the influence of Bolognese engravers such as Francia and Lorenzo Costa, as well as Dürer. From ca.1506 - ca. 1508, he was in Venice, making a total of 74 prints after woodcuts by Dürer. During this period, he also made engravings after works by Giorgione and Michelangelo. By ca.1510, Raimondi was in Rome and had befriended Raphael, who included Raimondi's portrait in his Vatican fresco depicting the Expulsion of Heliodorus. From ca.1510-1520, Raimondi, influenced by Raphael, primarily engraved designs by the latter and his followers. His style matured, and featured more fluidity in depicting subjects in motion. Raimondi also collaborated with Baviera on prints that, evidence suggest, were reproduced many times. According to Vasari, the 1527 Sack of Rome left Raimondi destitute. His engravings cannot be accounted for beyond that date.

For more detailed biographical notes see part 1. For earlier works see parts 1 - 3 also.

This is part 4 of 5 parts on the works of Marcantonio Raimondi:

c1510-1527 Venus and Cupid, possibly after Raphael
engraving 17.4 x 13.6 cm
Metropolitan Museum of Art, New York

c1510-1527 Venus crouching by a plinth on top of which stands Cupid, after Francesco Francia
engraving 21.7 x 14.2 cm
Metropolitan Museum of Art, New York

c1510-1527 Woman with a winged head standing in a niche
engraving 8 x 5.2 cm
Metropolitan Museum of Art, New York

1510-1530 The Nativity
engraving 37.5 x 27.4 cm
Museum of Fine Arts, Boston, MA

c1510  Dido holding a dagger in her right hand, left arm outstretched, after Raphael
engraving 16.1 x 12.8 cm
Metropolitan Museum of Art, New York

c1510 Apollo
engraving 30 x 13.9 cm
Fine Arts Museums of San Francisco, CA

c1512-1513  The Massacre of the Innocents, after Raphael
engraving 28.1 x 43 cm
Metropolitan Museum of Art, New York

c1512-1514 Adam and Eve flanked by two trees, a town in the background, after Raphael
engraving 24.2 x 17.6 cm
Metropolitan Museum of Art, New York

c1512-1515 A statue of Apollo, after Raphael
engraving 22.1 x 10.8 cm
Metropolitan Museum of Art, New York

c1512-1516 Madonna and Child, after Raphael
engraving 24.7 x 16.9 cm
Metropolitan Museum of Art, New York

c1513-1515 God carried by angels, appearing to Noah and his family, after the Flood, after Raphael
 engraving 30.6 x 25.1 cm

c1513-1515 Two Fauns Carrying a Child
engraving 15.8 x 18.3 cm
Metropolitan Museum of Art, New York

1513-1518  The Deposition, after Raphael
engraving 21.1 x 16.6 cm
Rijksmuseum, Amsterdam

c1514-1515 The Plague in Crete (“Il Morbetto”), after Raphael
engraving on laid paper 19.5 x 24.8 cm
Davison Art Centre, Wesleyan University

1514-1536c Speculum Romanae Magnificentiae: Young and Old Bacchant

This print comes from the museum’s copy of the Speculum Romanae Magnificentiae (The Mirror of Roman Magnificence) The Speculum found its origin in the publishing endeavors of Antonio Salamanca and Antonio Lafreri. During their Roman publishing careers, the two foreign publishers - who worked together between 1553 and 1563 - initiated the production of prints recording art works, architecture and city views related to Antique and Modern Rome. The prints could be bought individually by tourists and collectors, but were also purchased in larger groups which were often bound together in an album. In 1573, Lafreri commissioned a title page for this purpose, which is where the title ‘Speculum Romanae Magnificentiae’ first appears. Lafreri envisioned an ideal arrangement of the prints in 7 different categories, but during his lifetime, never appears to have offered one standard, bound set of prints. Instead, clients composed their own selection from the corpus to be bound, or collected a group of prints over time. When Lafreri died, two-third of the existing copper plates went to the Duchetti family (Claudio and Stefano), while another third was distributed among several publishers. The Duchetti appear to have standardised production, offering a more or less uniform version of the Speculum to their clients. The popularity of the prints also inspired other publishers in Rome to make copies however, and to add new prints to the corpus.


c1514-1536 Speculum Romanae Magnificentiae: Young and Old Bacchant, after Raphael
engraving 17.2 x 13 cm
Metropolitan Museum of Art, New York

1515-1516 Galatea standing in a water-chariot pulled by two dolphins, surrounded by tritons, nereids, and putti
engraving 40 x 28.7 cm
Metropolitan Museum of Art, New York

1515-1516 The Last Supper
engraving 28.9 x 43.5 cm
Detroit Institute of Arts, MI

1515-1516 Virgin and Child Seated on Clouds, after Raphael
engraving 24.6 x 16.7 cm
Art Institute of Chicago, IL

c1515-1516 A plague scene at right, a man at left holding a torch illuminating part of the scene at left, after Raphael
engraving 19.9 x 24.7 cm
Metropolitan Museum of Art, New York

c1515-1516 David with the head of Goliath, after Raphael
etching and engraving 11.1 x 8 cm
Metropolitan Museum of Art, New York

c1515-1516 Neptune calming the tempest which Aeolus raised against Aeneas' fleet from Book I of the Aeneid, after Raphael
engraving 42.3 x 32.4 cm sheet
Metropolitan Museum of Art, New York

c1515-1516 Satyr and Child
engraving 12.3 x 9.5 cm
Metropolitan Museum of Art, New York

c1515-1516 St Cecilia holding an organ, flanked by St Paul, St John the Evangelist, St Augustine and Mary Magdalen, after Raphael
engraving 26.5 x 15.8 cm
Metropolitan Museum of Art, New York

c1515-1516 The lamentation of the dead Christ, after Raphael
engraving, made up with pen and black ink 21 x 16.6 cm
Metropolitan Museum of Art, New York

1515-1520 The Judgment of Paris, after Raphael
engraving 29.1 x 43.5 cm
Art Institute of Chicago, IL

1515-1520 The Judgment of Paris, after Raphael
detail

1515-1520 The Judgment of Paris, after Raphael
detail

c1515-1525 Adam and Eve being expelled from Paradise, after Michelangelo Buonarroti
engraving 19 x 14.1 cm
Metropolitan Museum of Art, New York

c1515-1525 Joseph fleeing from Potiphar's wife, after Raphael
engraving 20.7 x 24.1 cm
Metropolitan Museum of Art, New York

c1515-1525 The Incense Burner, after Raphael
engraving 30.2 x 15.2 cm
Art Institute of Chicago, IL

c1515-1527 Cleopatra lying partly naked on a bed, after Raphael 
engraving 11.5 x 17.6 cm
Metropolitan Museum of Art, New York

c1515 Poetry, after Raphael
engraving 17.9 x 14.9 cm
National Gallery of Art, Washington, DC

c1515 Two Fauns Carrying a Child
engraving 15.5 x 17.7 cm
Fine Arts Museums of San Francisco, CA

1517-1520 Dance of Cupids
engraving 11 x 16.6 cm
Art Institute of Chicago, IL

1517-1520 Naked man walking to the right carrying a column, after Raphael
engraving 21.5 x 14.5 cm
Metropolitan Museum of Art, New York

1517-1520 Saint Paul Preaching at Athens, after Raphael
engraving 26.3 x 35/7 cm
Metropolitan Museum of Art, New York

1515-1525 The Seven Virtues:


1515-1525 Faith personified by a woman
engraving 21.8 x 10.8 cm
Metropolitan Museum of Art, New York

1515-1525 Fortitude, after Raphael
engraving
National Gallery of Art, Washington, DC

1515-1525 Prudence, after Raphael
engraving
National Gallery of Art, Washington, DC

1515-1525 Temperance
engraving 22.2 x 10.8 cm
National Gallery of Art, Washington, DC

c1515-1525 Charity personified by a woman with two children
engraving 21.5 x 10.8 cm
Metropolitan Museum of Art, New York

c1515-1525 Hope
engraving
Metropolitan Museum of Art, New York

c1515-1525 Justice personified by a young woman holding a sword in her raised right hand, scales in her left
engraving 21.4 x 10.8 cm
Metropolitan Museum of Art, New York


Wednesday 24 November 2021

Marcantonio Raimondi - part 3

An important Renaissance engraver, Raimondi's first prints stem from ca.1500-1505 and show both the influence of Bolognese engravers such as Francia and Lorenzo Costa, as well as Dürer. From ca.1506 - ca. 1508, he was in Venice, making a total of 74 prints after woodcuts by Dürer. During this period, he also made engravings after works by Giorgione and Michelangelo. By ca.1510, Raimondi was in Rome and had befriended Raphael, who included Raimondi's portrait in his Vatican fresco depicting the Expulsion of Heliodorus. From ca.1510-1520, Raimondi, influenced by Raphael, primarily engraved designs by the latter and his followers. His style matured, and featured more fluidity in depicting subjects in motion. Raimondi also collaborated with Baviera on prints that, evidence suggest, were reproduced many times. According to Vasari, the 1527 Sack of Rome left Raimondi destitute. His engravings cannot be accounted for beyond that date.

For more detailed biographical notes see part 1. For earlier works see parts 1 & 2 also.

This is part 3 of 5 parts on the works of Marcantonio Raimondi: 

c1500-1534 The Virgin and the Christ Child seated on clouds, after Raphael
engraving 17.6 x 13.4 cm
Metropolitan Museum of Art, New York

c1500-1534 Two naked figures, after Raphael
engraving 7.2 x 4.6 cm
Metropolitan Museum of Art, New York

c1500-1534 Two Naked Men, possibly after Michelangelo Buonarroti
engraving 16.3 x 12.2 cm
Metropolitan Museum of Art, New York

c1500-1534 Venus attended by Cupids, after Raphael
engraving 8.1 x 5 cm
Metropolitan Museum of Art, New York

1504-1514 Philoteo Achillini
engraving 18.4 x 13.3 cm
Art Institute of Chicago, IL

1504-1514 Sign of the Ram
engraving 17.5 x 13 cm
Art Institute of Chicago, IL

c1504 The Adoration of the Shepherds
engraving 36.2 x 26.8 cm
Metropolitan Museum of Art, New York

1505 Thisbe finding Pyramus laying on the ground with a knife in his chest
engraving 23.4 x 20.5 cm
Metropolitan Museum of Art, New York

c1505 Venus and Vulcan after Francesco Francia
engraving made up with pen an and ink 25.5 x 20.4 cm
Metropolitan Museum of Art, New York

1506 Apollo, Hyacinthus and Cupid, after Francesco Francia?
engraving 22.5 x 29.9 cm
Metropolitan Museum of Art, New York

1506 Venus, after Giacomo Francia?
engraving 21.4 x 15.2 cm
Metropolitan Museum of Art, New York

c1506 David and Goliath
engraving 16.5 x 11.1 cm
Metropolitan Museum of Art, New York

c1506 Standing male nude
pen and brown ink on paper 17.8 x 9.2 cm
Metropolitan Museum of Art, New York

c1506 The Offer of Love

Albrecht Dürer resorted to legal action to protect his artworks from copyists, based in part on Marcantonio Raimondi’s practice of reissuing woodcuts from Dürer’s Life of the Virgin book as engravings. This secular engraving (representing two lovers acting out of ulterior, financial motives) is one case in which the print media matches the original. Stylistically, there is no comparison between the intricacy of Dürer’s lines and Marcantonio’s dryer flecks and outlines. But contemporary buyers did not always know the difference. Although Dürer won the right to exclusive use of his “AD” monogram, the Venetian senate ruled that his images could still be copied.


c1506 The Offer of Love, after Albrecht Dürer
engraving 15.5 x 14.1 cm
Art Institute of Chicago, IL

1508 Mars seated at the left, his left hand on Venus's shoulder, cupid beside her at the right
engraving 29.8 x 20.9 cm
Metropolitan Museum of Art, New York

c1509-1514 The Suicide of Lucretia, after Raphael
engraving 21.2 x 13 cm
Rijksmuseum, Amsterdam

c1509 Orpheus and Eurydice
engraving 17.6 x 13.3 cm
National Gallery of Art, Washington, DC

1510 The Climbers, after Michelangelo Buonarroti
engraving 28.7 x 23 cm
Metropolitan Museum of Art, New York

c1510-1513 A Bacchanal
engraving 15 x 51.8 cm
Metropolitan Museum of Art, New York
 

c1510-1513 A Bacchanal
engraving, detail

c1510-1513 A Bacchanal
engraving, detail

c1510-1515 A personification of Philosophy sitting on clouds, after Raphael
engraving 17.8 x 14.6 cm
Metropolitan Museum of Art, New York

c1510-1520 A satyr about to remove drapery covering a Nymph
engraving 14.5 x 12.9 cm
Metropolitan Museum of Art, New York

c1510-1520 A satyr fighting for a nymph
engraving 11.7 x 8 cm
Metropolitan Museum of Art, New York

c1510-1520 The Judgment of Paris 

Paris is sitting at left with Venus, Juno and Pallas Athena, a winged victory above; in the upper section the Sun in his chariot preceeded by Castor and Pollux on horseback; at lower right two river gods and a naiad above whom Jupiter, an eagle, Ganymede, Diana and another Goddess.

A masterpiece of Renaissance printmaking, the Judgment of Paris represents a highpoint in the collaboration between the painter Raphael and the great Italian engraver Raimondi. This scene is one of a group of exceptional compositions Raphael designed specifically for Marcantonio to engrave, which, according to Giorgio Vasari, 'amazed all of Rome.' It demonstrates the meticulously ordered systems of hatching that Marcantonio developed to achieve the richest possible tonal effects, which was to influence generations of engravers. Depicted here is the incident that sparked the Trojan War: Paris being forced to decide which goddess—Juno, Minerva, or Venus—was the most beautiful. He chose Venus, seen receiving the golden apple upon promising to help him woo the most beautiful woman alive, Helen of Troy.


c1510-1520 The Judgment of Paris, after Raphael
engraving 29.1 x 43.7 cm
Metropolitan Museum of Art, New York

c1510-1520 The Judgment of Paris detail

1510-1523 The Pietà
engraving 30.5 x 21.8 cm
Art Institute of Chicago, IL

c1510-1525 A woman representing Temperance holding a bit
engraving 13.4 x 7.4 cm
Metropolitan Museum of Art, New York

1510-1527 A naked man holding Fortune by the hair and whipping her
engraving 14.3 x 13.1 cm
Metropolitan Museum of Art, New York

1510-1527 Amadeus Berruti with Austeritas, Amititia, and Amor
engraving 10.1 x 11.2 cm
Dallas Museum of Art, TX

1510-1527 Prudence
engraving 10.7 x 8 cm
Metropolitan Museum of Art, New York

c1510-1527 A Faun and a Child
engraving 17.7 x 13.8 cm

c1510-1527 A naked man at left showing an axe to a woman at right
engraving 18.2 x 12.4 cm
Metropolitan Museum of Art, New York

c1510-1527 A naked young man and a ram
engraving 18.5 x 12.9 cm
Metropolitan Museum of Art, New York

c1510-1527 A young man, seated and playing the violin at centre, flanked by two woman holding flutes, after Francesco Francia
engraving 28.4 x 20.3 cm
Metropolitan Museum of Art, New York

c1510-1527 A young woman personifying Force or Strength holding a column
engraving 13.6 x 7.6 cm
Metropolitan Museum of Art, New York

c1510-1527 An elderly winged man possibly representing Time gesturing towards a young child holding a sieve
engraving 7.3 x 5.1 cm
Metropolitan Museum of Art, New York

c1510-1527 An old skinny man at left talking with a fat man at right
engraving 10 x 7.9 cm
Metropolitan Museum of Art, New York

c1510-1527 Horatius Cocles on horseback, trampling a fallen soldier
engraving 17.4 x 11.4 cm
Metropolitan Museum of Art, New York

c1510-1527 Man with Two Trumpets, after Baccio Bandinelli
engraving  8.3 x 11.8 cm
National Gallery of Art, Washington, DC

c1510-1527 Medor and Angelica from Lodovico Ariosto's 'Orlando Furioso' or Venus and Adonis embracing
engraving 26.5 x 17.6 cm
Metropolitan Museum of Art, New York

c1510-1527 The Apollo Belvedere from the Vatican
engraving 29.1 x 16.2 cm
Metropolitan Museum of Art, New York

c1510-1527 Titus and Vespanian both on horseback
engraving 17.5 x 11.6 cm
Metropolitan Museum of Art, New York