Trajan crowned by Victory
| Reference: | S30412 |
| Author | Marcantonio RAIMONDI |
| Year: | 1518 ca. |
| Measures: | 266 x 413 mm |
€1,500.00
| Reference: | S30412 |
| Author | Marcantonio RAIMONDI |
| Year: | 1518 ca. |
| Measures: | 266 x 413 mm |
€1,500.00
Description
Engraving, about 1518-1520, monogrammed lower right.
Magnificent proof, rich in shades, printed on contemporary laid paper with watermark "shield with scale and flower", trimmed to copper, numerous folds of paper restored, otherwise in excellent condition.
The subject derived 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 friezelike 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.
Raimondi opts for no frame, so as to give greater breadth to the scene, while the dark background gives prominence and importance to the figures, with a sculptural effect achieved using the rounded burin, which accentuates the volumes.
The artist has added, however, the wall in the background on the right, which also occurs in the coeval engraving by Marco Dente, depicting another Costantine relief
Stegeimer and Shoemaker suggest that Marcantonio Raimondi probably made a drawing himself on which the engraving was based; while the assumption by Delaborde, for which the invention is attributed to Giulio Romano, is unfounded.
The engraving is generally dated in the early twenties of the sixteenth century, because stylistically close to Cupid and Psyche and A Censer for Francis I.
Literature
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Bartsch, XIV, pp. 275-276 n. 361; Delaborde (1888), p. 220 n. 192; Oberhuber (1978), vol. 27, p. 57; Oberhuber, 1999, p.206, n. 138; Shoemaker, p.182 n. 61. Dimensioni 266x413.
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Marcantonio RAIMONDI (Sant'Andrea in Argine 1480 circa - Bologna 1534)
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Marcantonio Raimondi is considered the greatest engraver of early Renaissance and the first to spread the work of Raphael. He was born in San’Andrea in Argine, near Bologna. His first artistic apprenticeship took place in Bologna, around 1504, in the workshop of Francesco Francia, painter and goldsmith.
His first known engraving is dated 1505. In 1506 he went to Venice to live and work; in this year, he started developing his own personal style for, in his production of that period, is quite evident the influence of Mantegna and Dürer. According to Vasari, Raimondi met Dürer in Venice, for they were both living there at the same time, but they had a quarrel over the reproductions, on copper, of Dürer’s seventeen woodcuts of the Vita della Vergine. After 1507, he turned to different models, especially those coming from Rome and Florence. He was in Rome in 1509, where he was introduced into the circle of the most important artists working in the City, such as Jacopo Rimanda from Bologna. In the same year he met Rapahel in the workshop of Baviera; the following year Raimondi became popular as the main interpreter of Raphael’s paintings. The Lucrezia can be considered the starting point of their cooperation and a sort of second beginning for Raimondi’s new style. In any case, together with the engravings representing Raphael’s works, Raimondi went on with the publication of his own subjects, especially antiquity, whose influence can be seen in his whole production (cfr. Dubois-Reymond 1978).
Between 1515-1516 Marcantonio started showing a keen interest for chiaroscuro, maybe under the influence fo Agostino Veneziano and Marco Dente, from Baviera’s workshop.
Till Raphael’s death, in 1520, Raimondi worked and lived in the background of the great artist from Urbino and engraved his works and those of his scholars.
His business went down after the Sacco (sack) Di Roma in 1527, when he was obliged to pay a huge amount of money to the invaders of the City to save his life.
He died in Bologna before 1534, in complete misery.
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Literature
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Bartsch, XIV, pp. 275-276 n. 361; Delaborde (1888), p. 220 n. 192; Oberhuber (1978), vol. 27, p. 57; Oberhuber, 1999, p.206, n. 138; Shoemaker, p.182 n. 61. Dimensioni 266x413.
|
Marcantonio RAIMONDI (Sant'Andrea in Argine 1480 circa - Bologna 1534)
|
Marcantonio Raimondi is considered the greatest engraver of early Renaissance and the first to spread the work of Raphael. He was born in San’Andrea in Argine, near Bologna. His first artistic apprenticeship took place in Bologna, around 1504, in the workshop of Francesco Francia, painter and goldsmith.
His first known engraving is dated 1505. In 1506 he went to Venice to live and work; in this year, he started developing his own personal style for, in his production of that period, is quite evident the influence of Mantegna and Dürer. According to Vasari, Raimondi met Dürer in Venice, for they were both living there at the same time, but they had a quarrel over the reproductions, on copper, of Dürer’s seventeen woodcuts of the Vita della Vergine. After 1507, he turned to different models, especially those coming from Rome and Florence. He was in Rome in 1509, where he was introduced into the circle of the most important artists working in the City, such as Jacopo Rimanda from Bologna. In the same year he met Rapahel in the workshop of Baviera; the following year Raimondi became popular as the main interpreter of Raphael’s paintings. The Lucrezia can be considered the starting point of their cooperation and a sort of second beginning for Raimondi’s new style. In any case, together with the engravings representing Raphael’s works, Raimondi went on with the publication of his own subjects, especially antiquity, whose influence can be seen in his whole production (cfr. Dubois-Reymond 1978).
Between 1515-1516 Marcantonio started showing a keen interest for chiaroscuro, maybe under the influence fo Agostino Veneziano and Marco Dente, from Baviera’s workshop.
Till Raphael’s death, in 1520, Raimondi worked and lived in the background of the great artist from Urbino and engraved his works and those of his scholars.
His business went down after the Sacco (sack) Di Roma in 1527, when he was obliged to pay a huge amount of money to the invaders of the City to save his life.
He died in Bologna before 1534, in complete misery.
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