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Marcantonio and his pupils continued to make engravings based upon
Raphael's work, even after Raphael's death in 1520. In many instances, Marcantonio would not copy the finished painting, but instead worked from early sketches and drafts. This method produced variations on a theme and were moderately
520:
207:, to religious scenes. His early works use his own compositions, combining elements from Francia and other North Italian artists, and like all Italian printmakers in these years he was strongly affected by the enormously accomplished prints of
250:, and Dürer made a complaint to the Venetian Government, which won him some legal protection for his monogram, but not his compositions, in Venetian territory - an important case in the slowly evolving history of
243:. However Dürer's woodcuts had raised the standard of the medium considerably, and since Marcantonio continued to copy a large number of both Dürer's engravings and woodcuts, he must have found it profitable.
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He is attributed with around 300 engravings. After years of great success, his career ran into trouble in the mid-1520s; he was imprisoned for a time in Rome over his role in the series of erotic prints
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200:, comes from 1505, although a number of undated works come from the years before this. From 1505–11, Marcantonio engraved about 80 pieces, with a wide variety of subject matter, from
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441:
406:, in 1527, he was forced to pay a heavy ransom by the Spaniards and fled in poverty. It is unclear where he stayed after his departure from Rome until his death in 1534.
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181:. Vasari claimed that Marcantonio quickly demonstrated more aptitude than Francia, and started designing and producing fashionable waist-buckles (among other items) in
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829:, an exhibition catalog from The Metropolitan Museum of Art (fully available online as PDF), which contains material on Marcantonio Raimondi (see index)
219:, he borrowed elements of Dürer's landscapes in a cut and paste fashion, and also borrowed from his technique. Dürer was in Bologna in 1506, as was
816:
489:
328:
734:
588:
Bohn says "b ?Argini, nr
Bologna, c. 1470–82"; BM same as Bohn; Boorsch, 62 says "between 1480 and 1482, probably in the small town of Argine"
82:
greatly helped his career, and he continued to exploit
Raphael's works after the painter's death in 1520, playing a large part in spreading
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239:. This was extremely common practice, although normally engravers copied other expensive engravings rather than the cheaper
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No paintings produced by
Marcantonio are known or documented, although some drawings survive. His first dated engraving,
86:
styles across Europe. Much of the biographical information we have comes from his life, the only one of a printmaker, in
335:, that quickly expanded into an engraving school with Marcantonio at the head. Among his most distinguished pupils were
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whose body of work consists largely of prints copying paintings. He is therefore a key figure in the rise of the
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Marcantonio appears to have spent some of the last half of the decade in Venice, but no dates are known.
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187:(engraved metal which is filled in with alloy in a contrasting colour). This is doubted, however, by
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Marcantonio's date of birth is unknown, but was by 1482 at the latest. He was possibly born in
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191:, who sees no evidence of a background in niello technique in his early engravings.
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Raphael, Dürer, and
Marcantonio Raimondi, Copying and the Italian Renaissance Print
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348:
340:
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Department of Image
Collections, National Gallery of Art Library, Washington, DC
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316:, dated 1515 or 1516, after Raphael, became the composition source for
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690:
Bryan, Michael (1889). Walter
Armstrong; Robert Edmund Graves (eds.).
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63:
705:. Harmondsworth, Middlesex, England: Penguin Books Ltd. p. 156.
78:
that became dominant in Italy and elsewhere. His collaboration with
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This article incorporates text from a publication now in the
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638:, Oxford Art Online, Oxford University Press. Web. 23 Jan. 2017.
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Dictionary of
Painters and Engravers, Biographical and Critical
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696:. Vol. II L-Z. London: George Bell and Sons. p. 341.
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The two started a successful printing establishment under a
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Le vite de’ piv eccellenti pittori, scvltori, e architettori
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121:, and then, according to Vasari, lost all his money in the
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Prints & People: A Social
History of Printed Pictures
822:
Marcantonio
Raimondi engravings from De Verda collection
395:, he was released, and set to work on his plate of the
309:, Raphael trained and assisted Marcantonio personally.
305:). After a reproduction of a work by Raphael, entitled
287:. This influence began showing up in engravings titled
125:, after which none of his work can be securely dated.
19:"Marcantonio" redirects here. For the given name, see
661:
Landau, David, in Landau, David and Parshall, Peter.
379:, which were later accompanied by sonnets written by
211:, which were widely distributed in Italy. Like other
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Works at the Museum of New Zealand Te Papa Tongarewa
756:
The Works of Marcantonio Raimondi and of his School
481:
Amadeus Berruti with Austeritas, Amititia, and Amor
425:, an important print of 1510, based on a detail of
367:Around 1524, Marcantonio was briefly imprisoned by
231:About this time he began to make copies of Dürer's
785:Artcyclopedia: Marcantonio Raimondi (1480 - 1527)
743:. Vol. 17 (11th ed.). pp. 682–683.
137:Lucretia, engraved by Raimondi after a design by
834:
375:set of erotic engravings, from the designs of
283:and entered the circle of artists surrounding
800:
246:His early copies included Dürer's famous AD
16:16th-century Italian engraver and printmaker
790:Catholic Encyclopedia: Marcantonio Raimondi
778:
223:, and he may have met one or both of them.
634:Bohn, Babette. "Raimondi, Marcantonio."
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34:(Fiorenza: Appresso i Giunti, 1568), by
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767:The Engravings of Marcantonio Raimondi
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279:Around 1510, Marcantonio travelled to
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66:, known for being the first important
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526:F. Best after Marcantonio Raimondi,
451:, one of many prints of antiquities.
449:Equestrian Statue of Marcus Aurelius
152:, c. 1515, Marcantonio after Raphael
795:Marcantonio Raimondi (Getty Museum)
435:; this was the last print he dated.
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762:, ed. W. Strauss (New York, 1978–)
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629:Marcantonio (Biographical details)
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649:Six Centuries of Master Prints
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419:Bathers on the edge of a river
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312:Another famous engraving, the
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383:. At the intercession of the
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647:, in: K.L. Spangeberg (ed),
514:A Young and an Old Bacchant.
385:Cardinal Ippolito de' Medici
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532:, 19th century, engraving,
30:Plate of Marcantonio, from
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801:Reproductions of his works
297:Soldiers surprised bathing
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703:Aretino: Selected Letters
397:Martyrdom of St. Lawrence
322:The Luncheon on the Grass
779:Biographical information
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345:Giovanni Jacopo Caraglio
177:and painter in Bologna,
21:Marcantonio (given name)
760:The Illustrated Bartsch
740:Encyclopædia Britannica
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44:, often called simply
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858:Renaissance engravers
848:People from Molinella
701:Bull, George (1976).
663:The Renaissance Print
640:subscription required
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252:intellectual property
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769:, 1981, Lawrence, KS
123:Sack of Rome in 1527
93:Lives of the Artists
42:Marcantonio Raimondi
754:Oberhuber, Konrad,
399:after Bandinelli.
353:Agostino Veneziano
314:Judgement of Paris
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237:Life of the Virgin
197:Pyramus and Thisbe
189:Arthur Mayger Hind
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150:Judgement of Paris
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72:reproductive print
62:), was an Italian
39:
853:Italian engravers
758:, 1978, 26–7 of
679:, 2004, Yale UP,
606:Bohn; Boorsch, 62
465:David and Goliath
432:Battle of Cascina
389:Baccio Bandinelli
302:Battle of Cascina
217:Giulio Campagnola
179:Francesco Francia
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341:Marco da Ravenna
320:when he painted
84:High Renaissance
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711:Attribution
675:Pon, Lisa,
615:Boorsch, 62
402:During the
359:Later years
337:Marco Dente
213:printmakers
157:Early years
60: 1534
46:Marcantonio
837:Categories
671:0300068832
657:0931537150
622:References
333:Il Baveria
68:printmaker
812:Cybermuse
733:(1911). "
502:, c. 1520
483:, с. 1517
468:, 1515–16
205:mythology
175:goldsmith
129:Biography
76:engraving
307:Lucretia
275:, c 1525
248:monogram
241:woodcuts
215:such as
64:engraver
728::
285:Raphael
233:woodcut
167:Bologna
165:, near
139:Raphael
108:Raphael
80:Raphael
722:
683:
669:
655:
496:Joseph
373:I modi
184:niello
163:Argine
118:I Modi
88:Vasari
627:"BM"
541:Notes
421:, or
254:law.
209:Dürer
202:pagan
171:Italy
681:ISBN
667:ISBN
653:ISBN
597:Bohn
579:Bohn
570:Bohn
561:Bohn
552:Bohn
498:and
447:The
391:and
347:and
281:Rome
261:Rome
737:".
429:'s
355:).
343:),
295:'s
90:'s
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324:.
169:,
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57:c.
55:–
50:c.
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339:(
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