Raimondi, Marcantonio

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Raimondi, Marcantonio

(märkäntô`nyō rīmôn`dē), b. c.1480, d. before c.1534, Italian engraver. In Venice he was influenced by Dürer to such an extent that he plagiarized the German master's series, Life of the Virgin and the Passion. It is said that Dürer complained to the Venetian senate. Raimondi's art of imitation was appreciated more by Raphael, who selected him to copy his designs and paintings. Thus under Raphael's supervision (1510–20) he became the first eminent engraver of reproductions. He was quite free in his interpretation of original works, when compared with later, more literal engravers. However, his was a somewhat heavy-handed style. Among his most famous works after Raphael are Lucretia, Pietà, Massacre of the Innocents, Death of Dido, and Adam and Eve. Raimondi made engravings after other artists, including Michelangelo, Giulio Romano, and Baccio Bandinelli. In 1527, during the sack of Rome, he fled to Bologna. The rest of his life was spent in obscurity.
References in periodicals archive ?
A cropped image of two reclining female nudes, borrowed from a print by the Italian Renaissance engraver Marcantonio Raimondi, is a case in point.
One of the highlights is a broad-bordered bowl decorated by Francesco Xanto Avelli da Rovigo, who appropriated a veritable jigsaw of figures from prints by Marcantonio Raimondi and others which he recombined to create his dynamic compositions.
In the 1550 edition of his Lives of the Artists, she says, he paid little attention to engravings and woodcuts, but in the second edition of 1568, he created an entirely new chapter on the life of Marcantonio Raimondi and other engravers of prints to encapsulate the development of the increasingly important graphic media.
The print is dated 1526 and shows the work of this pupil of Marcantonio Raimondi at the beginning of his career before his sojourn to Poland.
Pero con el Renacimiento y el impulso de las tecnicas de impresion, el grabador Marcantonio Raimondi y el dibujante Giulio Romano publicaron I Modi, una coleccion de estampas en las que se reproducian distintas posiciones del acto sexual; esta publicacion provoco la consecuente reaccion del Papa Clemente vii y entonces, Romano tuvo que huir a Mantua y Raimondi fue encarcelado.
In 1511, Albrecht Durer went to the Venetian Senate to stop engraver Marcantonio Raimondi from making unauthorized prints of his engravings.
Essi causarono tante vicissitudini ai loro artefici: a Romano che li disegno, a Marcantonio Raimondi che li stampo dopo averli incisi su lastre di rame e infine ad Aretino che alle gia impudiche immagini di coppie intente a copulare volle aggiungere i suoi versi lascivi, "una straordinaria miscela di trasgressione e arguzia voyeuristica".
He is aggressively competitive, a toughminded businessman who understood, for example, the potential profits to be made from a partnership with the engraver Marcantonio Raimondi to sell and disseminate his inventions.
Nel secondo capitolo, "Sleeping and Waking/Rapture and Reason," Ruvoldt studia questa pratica di antitesi dettagliatamente ne Il vecchio e l'ancora di Marcantonio Raimondi (ca.
IN A 1524 PRINT BY THE ARTIST MARCANTONIO Raimondi, two nude females stand before a naked young man, his back turned toward the viewer.
The Pornographic Ideal" centers not on the shadowy artist mentioned in The Winter's Tale but on the real Giulio Romano who drew a set of images of sexual positions known as I Modi that were reproduced as engravings by Marcantonio Raimondi in 1524.
The distinction between inventore and engraver began to be reflected in the plates themselves, so a drawing by Raphael ("RAPHA/URBI/INVEN") could be engraved by Marcantonio Raimondi ("MAF" = Marc'Antonio fecit).