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.
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References in periodicals archive ?
Durer's woodcuts reproduced by 16th century engraver Marcantonio Raimondi. Until Aug 28; (Mon-Sat 10am-5pm, Sun 2pm-5pm).
Nel quinto capitolo, "The Dream of Raphael," Ruvoldt prende in considerazione il sogno come topica per il linguaggio visivo nel Sogno di Raffaello 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.
Dejeuner sur l'herbe notoriously exploits Giorgione's Fete Champetre in the Louvre, as well as a lost Judgment of Paris by Raphael, known through a famous engraving by Marcantonio Raimondi. His Olympia appropriates Titian's Venus of Urbino.
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).
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.
In 1511, Albrecht Durer went to the Venetian Senate to stop engraver Marcantonio Raimondi from making unauthorized prints of his engravings.
Egli, in combutta con Tom Russell-Walsh, cerca a Bardiano i famosi dipinti proibiti che una iettera dai carcere di Marcantonio Raimondi, fortunatamente rinvenuta nel manoscritto Farussi, aresta essere conservati nel dipinto di Piazza.
Bloemaert's Judgement of Paris is in part derived from Marcantonio Raimondi's engraving of Raphael's drawing, but less suave.
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.