Marcantonio Raimondi - part 2

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 and for earlier works see part 1 also.

This is part 2 of 5 parts on the works of Marcantonio Raimondi:

c1500-1534 Saint Matthias, after Raphael
engraving 8.3 x 5.1 cm
Metropolitan Museum of Art, New York

c1500-1534 Satyr and Nymph
engraving 22.1 x 18.1 cm
Metropolitan Museum of Art, New York

c1500-1534 The Crown of Thorns, after Albrecht Dürer
engraving 13.2 x 9.9 cm
Metropolitan Museum of Art, New York

c1500-1534 The Entombment, after Albrecht Dürer
engraving 12.9 x 10 cm
Metropolitan Museum of Art, New York

c1500-1534 The Expulsion from the Paradise, after Albrecht Dürer
engraving 13.8 x 9.9 cm
Metropolitan Museum of Art, New York

c1500-1534 Speculum Romanae Magnificentiae:

c1500-1534 The Lion Hunt
engraving 26.1 x 40.6 cm sheet
Metropolitan Museum of Art, New York

c1500-1534 The Three Graces, after Raphael
engraving 29.6 x 20.3 cm sheet
Metropolitan Museum of Art, New York

c1517-1520 An allegory of Peace
engraving 20 x 12.4 cm (sheet)
Metropolitan Museum of Art, New York

c1500-1534 The Passion of Christ after Albrecht Dürer:

1500-1504 The Crucifixion, after Albrecht Dürer
engraving 12.8 x 10 cm
Metropolitan Museum of Art, New York

c1500-1504 The Ascension of Christ, after Albrecht Dürer
engraving 12.9 x 10.2 cm
Metropolitan Museum of Art, New York

c1500-1534 Christ appearing to Mary, after Albrecht Dürer
engraving 13.3 x 10.2 cm
Metropolitan Museum of Art, New York

c1500-1534 Christ Appearing to the Magdalen as a Gardener, after Albrecht Dürer
engraving 13 x 10 cm
Metropolitan Museum of Art, New York

c1500-1534 Christ at Emmaus, after Albrecht Dürer
engraving 13 x 9.9 cm
Metropolitan Museum of Art, New York

c1500-1534 Christ before Caiaphas, after Albrecht Dürer
engraving 13.3 x 10.1 cm
Metropolitan Museum of Art, New York

c1500-1534 Christ before Herod, after Albrecht Dürer
engraving 12.8 x 10.2 cm
Metropolitan Museum of Art, New York

c1500-1534 Christ in Limbo, after Albrecht Dürer
engraving 12.9 x 10.1 cm
Metropolitan Museum of Art, New York

c1500-1534 Christ kneeling and washing St Peter's feet, after Albrecht Dürer
engraving 13 x 10.3 cm
Metropolitan Museum of Art, New York

c1500-1534 Christ praying on Mount of Olives, after Albrecht Dürer
engraving 13 x 10.1 cm
Metropolitan Museum of Art, New York

c1500-1534 Judas kissing Christ St Peter attacking Malchus, after Albrecht Dürer
engraving 12.9 x 10.1 cm
Metropolitan Museum of Art, New York

c1500-1534 Nailing Christ to the Cross, after Albrecht Dürer
engraving 13.3 x 9.9 cm
Metropolitan Museum of Art, New York

c1500-1534 Pilate sitting on throne and washing hands while Christ is lead away, after Albrecht Dürer
 engraving 13 x 9.8 cm
Metropolitan Museum of Art, New York

c1500-1534 Shroud of Oviedo, after Albrecht Dürer
engraving 12.7 x 10.3 cm
Metropolitan Museum of Art, New York

c1500-1534 The Annunciation, after Albrecht Dürer
engraving 13 x 10 cm
Metropolitan Museum of Art, New York

c1500-1534 The Bearing of the Cross, after Albrecht Dürer
engraving 13.9 x 9.9 cm
Metropolitan Museum of Art, New York

c1500-1534 The Cleansing of the Temple, after Albrecht Dürer
engraving 13 x 10.2 cm
Metropolitan Museum of Art, New York

c1500-1534 The Deposition, after Albrecht Dürer
 engraving
Metropolitan Museum of Art, New York

c1500-1534 The Descent from the Cross, after Albrecht Dürer
engraving 12.8 x 10.1 cm
Metropolitan Museum of Art, New York

c1500-1534 Doubting Thomas, after Albrecht Dürer
engraving 12.9 x 10 cm
Metropolitan Museum of Art, New York

c1500-1534 The Flagellation, after Albrecht Dürer
engraving 13 x 10.1 cm
Metropolitan Museum of Art, New York

c1500-1534 The Last Judgment, after Albrecht Dürer
engraving 12.8 x 10 cm
Metropolitan Museum of Art, New York

c1500-1534 The Last Supper, after Albrecht Dürer
engraving 12.8 x 10.3 cm
Metropolitan Museum of Art, New York

c1500-1534 The mocking of Christ, after Albrecht Dürer
engraving 13.2 x 10.2 cm
Metropolitan Museum of Art, New York

c1500-1534 The Pentecost, after Albrecht Dürer
engraving 13.1 x 10 cm
Metropolitan Museum of Art, New York

c1500-1534 The Resurrection, after Albrecht Dürer
engraving 12.9 x 10 cm
Metropolitan Museum of Art, New York

c1500-1534 The Twelve Caesars:

c1500-1534 Claudius, from The Twelve Caesars
engraving 15 x 16 cm (sheet)

c1500-1534 Domitian, from The Twelve Caesars
engraving 17 x 15  cm (sheet)

c1500-1534 Galba, from The Twelve Caesars
engraving 17 x 15 cm (sheet)

c1500-1534 Nero, from The Twelve Caesars
engraving 17 x 15 cm (sheet)

c1500-1534 Nerva, from The Twelve Caesars
 engraving 16.8 x 15 cm (sheet)

c1500-1534 Octavian (Augustus), from The Twelve Caesars
engraving 16.4 x 14.6 cm (sheet)

c1500-1534 Otho, from The Twelve Caesars
engraving 17 x 15 cm (sheet)

c1500-1534 Tiberius, from The Twelve Caesars
engraving 16 x 15 cm (sheet)

c1500-1534 Titus, from The Twelve Caesars
engraving 17 x 15 cm (sheet)

c1500-1534 Vespasian, from The Twelve Caesars
engraving 17 x 15 cm (sheet)

c1500-1534 Vitellis, from The Twelve Caesars
engraving 16.5 x 15 cm (sheet)

Marcantonio Raimondi - part 1

Following on from a series on the Italian Renaissance artist Raphael, it seemed fitting to to feature a series on Marcantonio Raimondi (c1480, near  Bologna, Italy - c1534, Bologna), Italian Renaissance master of engraving whose production of more than 300 prints did much to disseminate the style of the High Renaissance throughout Europe, especially the work of Raphael. 

Raimondi received his training in the workshop of the famous goldsmith and painter Francesco Raibolini, called Francia. The stiff, irregular hatching, as well as the figures, draperies, and composition of such early engravings as Serpent Speaking to a Young Man (c1500) and Pyramus and Thisbe (1505) reveal the influence of Francia, but the landscape backgrounds and his use of light and shade indicate that he was familiar with the engravings of Lucas van Leyden. 

Serpent Speaking to a Young Man
engraving
National Gallery of Art, Washington, DC

Pyramus and Thisbe
engraving 23.4 x 20.5 cm
Metropolitan Museum of Art, New York

During his stay in Venice (c. 1506–08), Raimondi also profited from studies of Albrecht Dürer’s energetic line and his use of crosshatching in modelling. He copied more than 70 of Dürer’s woodcuts and engravings, causing Dürer to bring suit against him in 1506.

In about 1510 Raimondi went to Rome. There his activity was almost entirely limited to reproducing works of Raphael, Michelangelo, and their followers. By 1513 he had met Raphael, who included a depiction of Raimondi in the Vatican fresco Expulsion of Heliodorus (1513). He was very successful financially and attracted a large number of pupils, of whom the two most distinguished were Marco Dente, known as Marco da Ravenna, and Agostino de Musi, known as Agostino Veneziano.

Raimondi’s best engravings, such as Massacre of the Innocents, were done during the first years after he had attached himself to Raphael. In these he retains Raphael’s idealised figures, but, in the parts where he was left to himself (the rounding and shading, the background and landscape), he managed his burin with all the skill and freedom he had gained by the imitation of northern models, while dispensing with the northern emphasis on detail. Raimondi’s engravings after the works of Raphael’s later years were characterised by a colder, harsher use of light and shade and by less-disciplined design.

Raimondi was disgraced when he was arrested for engraving a series of pornographic designs after Giulio Romano. He was finally ruined by having to pay a heavy ransom to the Spaniards, who had taken Rome, after which he retired to obscurity in Bologna. Because of this, none of his prints made after 1527 can be dated with any certainty.

This is part 1 of 5 parts on the works of Marcantonio Raimondi:

This print from a bas-relief on the Arch of Constantine celebrating the Roman Emperor Trajan’s 105/06 A.D. victory over the Dacians (from an area now encompassing Romania). The frieze-like shape of the composition and the depth of the visual field mimic that shallow type of sculpture, while celebrating Rome’s historical past at a moment just before the 1527 sack by the troops of Charles V, Holy Roman Emperor.

c1480-1534 Trajan Crowned by Victory
engraving 29.3 x 44.1 cm
Art Institute of Chicago, IL

c1500-1506 Orpheus and Eurydice
engraving 12.9 x 9.8 cm
Metropolitan Museum of Art, New York

c1500-1510 St Margaret, after Francesco Francia
engraving 10.8 x 11.8 cm
Metropolitan Museum of Art, New York

c1500-1527  Venus and Cupid standing in a niche, after Raphael
engraving 20,3 x 8.3 cm
Metropolitan Museum of Art, New York

c1500-1527 Piccoli Santi (Small Saints):

1500-1527 Saint John, after Raphael
engraving 8.4 x 5.1 cm
Metropolitan Museum of Art, New York

1500-1527 Saint Lawrence
engraving 8.2 x 4.9 cm
Metropolitan Museum of Art, New York

1500-1527 Saint Simon, after Raphael
engraving 8.2 x 5 cm
Metropolitan Museum of Art, New York

1500-1527 The Angel Gabriel
engraving 7.4 x 4.3 cm
Metropolitan Museum of Art, New York

c1500-1527 Christ, after Raphael
engraving 8.3 x 5.2 cm
Metropolitan Museum of Art, New York

c1500-1527 Christ on the Cross
engraving 5 x 8.3 cm
Metropolitan Museum of Art, New York

c1500-1527 Saint Anthony
engraving 8 x 4.8 cm
Metropolitan Museum of Art, New York

c1500-1527 Saint Anthony
engraving 8.3 x 4.8 cm
Metropolitan Museum of Art, New York

c1500-1527 Saint Anthony of Padua
engraving 7.8 x 4.9 cm
Metropolitan Museum of Art, New York

c1500-1527 Saint Bernard
engraving 8.2 x 4.9 cm
Metropolitan Museum of Art, New York

c1500-1527 Saint James Major, after Raphael
engraving 8 x 4.8 cm
Metropolitan Museum of Art, New York

c1500-1527 Saint Jude, after Raphael
engraving 8.2 x 4.9 cm
Metropolitan Museum of Art, New York

c1500-1527 Saint Matthew, after Raphael
engraving 8 x 4.8 cm
Metropolitan Museum of Art, New York

c1500-1527 Saint Michael
engraving 8.2 x 4.8 cm
Metropolitan Museum of Art, New York

c1500-1527 Saint Paul, after Raphael
engraving 8 x 4.7 cm
Metropolitan Museum of Art, New York

c1500-1527 Saint Peter, after Raphael
engraving 8.2 x 4.9 cm
Metropolitan Museum of Art, New York

c1500-1527 Saint Philip, after Raphael
engraving 8.2 x 4.8 cm
Metropolitan Museum of Art, New York

c1500-1527 Saint Roch
engraving 8.3 x 4.9 cm
Metropolitan Museum of Art, New York

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c1500-1527 Saint Anne and the Virgin with the Infant Christ
engraving 8.3 x 5 cm
Metropolitan Museum of Art, New York

c1500-1527 Saint Barbara, Saint Catherine, Saint Lucy
engraving 7.7 x 11.8 cm
Metropolitan Museum of Art, New York

c1500-1527 Saint Catherine, after Francesco Francia
engraving 10.5 x 7.8 cm
Metropolitan Museum of Art, New York

c1500-1527 The Holy Trinity
engraving 8.4 x 5.1 cm
Metropolitan Museum of Art, New York

c1500-1527 The Virgin holding the Christ Child
engraving 8.4 x 5.2 cm
Metropolitan Museum of Art, New York

c1500-1527 Venus and Cupid
engraving 20.4 x 10.5 cm
Metropolitan Museum of Art, New York

c1500-1534 A Roman Emperor sitting in a niche, after Raphael
etching and engraving 11 x 8 cm
Metropolitan Museum of Art, New York

c1500-1534 A Roman emperor sitting in a niche holding a globe and sceptre, after Raphael
engraving 11 x 8.2 cm
Metropolitan Museum of Art, New York

c1500-1534 Adam and Eve, after Albrecht Dürer
engraving 13.2 x 10.1 cm
Metropolitan Museum of Art, New York

c1500-1534 Alexander the Great commanding that the work of Homer be placed in the tomb of Achilles
 engraving 25.1 x 39.8 cm
Metropolitan Museum of Art, New York

c1500-1534 Christ at Emmaus, after Albrecht Dürer
engraving 13 x 9.9 cm
Metropolitan Museum of Art, New York

c1500-1534 Christ captured and being dragged by hair up steps before the throne of the high priest Annas, after Albrecht Dürer
engraving 12.9 x 9.8 cm
Metropolitan Museum of Art, New York

c1500-1534 Christ in Limbo with Adam and Eve
engraving 21.5 x 17.1 cm
Metropolitan Museum of Art, New York

c1500-1534 Christ presented to Pilate by henchmen, after Albrecht Dürer
engraving 13.1 x 9.9 cm
Metropolitan Museum of Art, New York

c1500-1534 Christ Taking Leave of His Mother, after Albrecht Dürer
engraving 12.9 x 10 cm
Metropolitan Museum of Art, New York

c1500-1534 Ecce Homo, after Albrecht Dürer
engraving 13.2 x 10 cm
Metropolitan Museum of Art, New York

c1500-1534 Lord and Lady walking with figure of Death hiding behind a tree, holding an hourglass, after Albrecht Dürer
engraving 19.5 x 12.2 cm
Metropolitan Museum of Art, New York

c1500-1534 Man kneeling at the edge of a wood
engraving 9.5 x 7.8 cm
Metropolitan Museum of Art, New York

c1500-1534 Man sleeping at the edge of a wood
etching and engraving 9.5 x 8 cm

c1500-1534 Medor and Angelica, from Lodovico Ariosto's 'Orlando Furioso' or Venus and Adonis embracing
engraving 26 x 18 cm
Metropolitan Museum of Art, New York

c1500-1534 Naked Man, after Michelangelo Buonarroti
engraving 20.2 x 13.5 cm
Metropolitan Museum of Art, New York

c1500-1534 Naked man wearing an elaborate helmet
engraving 24.6 x 27.7 cm
Metropolitan Museum of Art, New York

c1500-1534 Saint Christopher crossing the river with Christ in the form of a putto on his shoulders and a hermit in the foreground, after Albrecht Dürer
engraving 21.3 x 14.5 cm
Metropolitan Museum of Art, New York