Triumph
| Reference: | S36093 |
| Author | Marcantonio RAIMONDI |
| Year: | 1509 ca. |
| Measures: | 491 x 342 mm |
€1,800.00
| Reference: | S36093 |
| Author | Marcantonio RAIMONDI |
| Year: | 1509 ca. |
| Measures: | 491 x 342 mm |
€1,800.00
Description
Engraving, 1509 -1510 ca, not dated or signed. After Jacopo Ripanda.
Good proof, printed on contemporary laid paper, trimmed to the platemark, vertical fold at the center, generally ijn good condition.
Lettered in pen at lower right “MAV” In basso a destra, antica nota manoscritta a penna “M A V”.
Bartsch attributed the design for the composition to Andrea Mantegna. Passavant identified the model in a drawing in the Louvre (see M.Faietti & K.Oberhuber, 'Bologna e l'Umanesimo', Bologna 1988, cat.37 and 92), formerly attribued to Baldassarre Peruzzi, Francia, Sodoma (Delaborde e Passavant), and now to Ripanda by Oberhuber.
The subject of the composition is still unclear: Bartsch refers to this print as 'Le triomphe de Tito' or 'Le basrelief de Marc Aurele'; Wickoff interpreted the subject as an allegory of the Third Punic War; later it was indentified as the Triumph of Scipio; Davidson considered the depiction as combined of a military victory and an allegory of love, while Borghini interpreted the oak branch at the center of the composition as a clear allusion to Giulio II della Rovere.
Concerning the realization of the engraving, the dating to 1509-1510 proposed by Obheruber and Folds seems to be more convincing (because of the absence of influences from Luca von Leyden found in 1510) compared to 1512 - 1513 indicated by Davidson and Dubois-Reymond.
A very rare and fascinating work.
Literature
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Bartsch XIV.173.213; Passavant, 126; Delaborde, 171; Oberhuber, Raffaello e l’incisione (1984), p. 334; Faietti – Oberhuber, n. 37, pp. 166-168.
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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.173.213; Passavant, 126; Delaborde, 171; Oberhuber, Raffaello e l’incisione (1984), p. 334; Faietti – Oberhuber, n. 37, pp. 166-168.
|
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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