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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. Raimondi, Marcantonio(born c. 1480, near Bologna—died c. 1534, Bologna) Italian engraver. He trained in Bologna under Francesco Francia, but his energetic lines and use of cross-hatching in modeling were influenced by Albrecht Dürer. After he moved to Rome c. 1510, he specialized in reproducing works by other artists, particularly Raphael. He retained Raphael's idealized figures but provided his own background and landscapes. His engravings sold in large numbers and did much to spread High Renaissance style throughout Europe during his lifetime. How to thank TFD for its existence? Tell a friend about us, add a link to this page, add the site to iGoogle, or visit webmaster's page for free fun content. |
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Soon, brilliant engravers like Albrecht Durer, Marcantonio Raimondi and Lucas van Leyden were astonishing Europe with their elaborate, exacting woodcuts and prints. The engraving, by the Renaissance printmaker Marcantonio Raimondi, was itself made from a drawing by Raphael that has its own antecedents, connecting Manet's painting with a history stretching back two thousand years. She is trying to understand the status of the erotic in Renaissance culture by a detailed analysis of what she presents as the "establishing case study" (xii) -- sixteen drawings of explicit sexual positions created by Giulio Romano in the early 1520s, engraved by Marcantonio Raimondi and shortly thereafter turned into a kind of sexual handbook with woodcut illustrations derived from Marcantonio's engravings and the addition of sixteen sonnets by Pietro Aretino. |
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