Oldal kiválasztása

cat059 (Raimondi 5585)


Marcantonio Raimondi
(1470/82−1527/34)
After Raphael
(1483−1520)

Lucretia

c. 1511−12
Engraving, 205 × 129 mm
Museum of Fine Arts, Budapest 5585
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The engraving dating from Marcantonio Raimondi’s early Roman years follows a lost drawing by Raphael after an antique sculpture. Lucretia is thought to be the print to inspire the painter to provide Marcantonio with drawings to engrave. The figure of classical proportions and perfect contrapposto is completely removed from a narrative context. Marcantonio borrowed the landscape from a print by Lucas van Leyden.

cat057 (Raimondi 5517)


Marcantonio Raimondi
(1470/82−1527/34)
After Raphael
(1483−1520)

The Martyrdom of Saint Cecilia

c. 1520−25
Engraving, 238 × 405 mm
Museum of Fine Arts, Budapest 5517
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The engraving is related to the fresco, already destroyed, designed by Raphael and executed by his workshop in 1517–1519 in the chapel of Villa Magliana, a papal retreat outside of Rome. The scene combines the martyrdom of Saint Cecilia, boiled in a cauldron of oil, with the beheading of her husband and brother-in-law.

cat054 (Raimondi 5595)


Marcantonio Raimondi
(1470/82−1527/34)
Raphael
(1483−1520)

Quos Ego

c. 1515−16
Engraving, 430 × 330 mm
Museum of Fine Arts, Budapest 5595
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The ambitious print combining the features of Roman reliefs and illusionistic wall paintings embodies the perfect all’antica style. Its arrangement follows an antique relief type in which a central narrative panel is surrounded by several small subsidiary scenes. The print’s title quotes Virgil’s Aeneid, and its central scene represents the sea god Neptun calming the tempest raised by Aeolus against Aeneas’ fleet.

cat045 (Raimondi 5786)


Marcantonio Raimondi
(1470/82−1527/34)
Raphael
(1483−1520)

The Plague (The Morbetto)

c. 1515−16
Engraving, 198 × 253 mm
Museum of Fine Arts, Budapest 5786
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Only four cases are known when Raphael drew with the specific intention that the design would be engraved by Marcantonio Raimondi. The Morbetto was the first occasion when instead of pen, he elaborated the composition in a tonal drawing for the engraver (Florence, Uffizi), who masterfully transferred the light and shade effects of the drawing onto the plate. Its title meaning ‘little plague’ refers to the small size of the print, whose theme derives from the Aeneid.

cat044 (Raimondi 5542)


Marcantonio Raimondi
(1470/82−1527/34)
Probably after Giorgione
(?1477/8−1510)

The Dream of Raphael

c. 1507−8
Engraving, 235 × 333 mm
Museum of Fine Arts, Budapest 5542
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Marcantonio Raimondi’s most famous Venetian engraving was the first print to represent a nocturnal scene. Inspired mainly by a lost painting of Giorgione, Marcantonio borrowed elements from several other artists. The sleeping women, arranged to show the female nude from two viewpoints, recall Giorgione’s figures, while the monstrous creatures derive from the strange inventions of Hieronymus Bosch, and the man descending from the wall of the burning town is a citation from Michelangelo’s Battle of Cascina.

cat043 (Raimondi 5570)


Marcantonio Raimondi
(1470/82−1527/34)

David

c. 1506
Engraving
170 × 107 mm
Museum of Fine Arts, Budapest 5570

 

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The technique of the engraving pre-dating Marcantonio Raimondi’s Roman years also reveals the deep impact of Albrecht Dürer. Although it was suggested that one of the compositions of the Bolognese painter, Francesco Francia was the source for the print, it was probably created upon the engraver’s own invention. David’s pose was inspired by the famous antique sculpture, the Apollo Belvedere.

cat042 (Raimondi 5683)


Marcantonio Raimondi
(1470/82−1527/34)
After Albrecht Dürer
(1471–1528)

The Visitation

c. 1506–8
Engraving, 292 × 211 mm
Museum of Fine Arts, Budapest 5683
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The international fame of the prints by Albrecht Dürer must have inspired Raphael to become involved in printmaking. As the most proficient printmaker of the period and a strikingly precise imitator of Dürer’s manner, Marcantonio Raimondi was the perfect choice of collaborator. Marcantonio arrived in Venice in 1506, where he gained a considerable profit from his copies after Dürer’s prints. He engraved more than seventy prints after the German artist, and copied seventeen of his twenty woodcuts of the series Life of the Virgin. As Marcantonio even used Dürer’s monogram, the indignant painter made a complaint by the Venetian authorities. This was the first copyright case in the history of printmaking.

cat028 (Raimondi 5616)


Marcantonio Raimondi
(1470/82−1527/34)
After Raphael
(1483−1520)

Pan and the Infant Bacchus

c. 1515−16
Engraving, 125 × 92 mm
Museum of Fine Arts, Budapest 5616
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It was probably Marcantonio Raimondi who devised the composition from several models. The awkward conjunction of the two figures, at the areas where they overlap, is characteristic of the engraver’s composite works. A telling example of moral purism of later centuries is that the detail regarded as scandalous was scraped out from the sheet.

cat027 (Raimondi 5532)


Marcantonio Raimondi
(1470/82−1527/34)

Bacchanal

early 1510s
Engraving
148 × 503 mm
Museum of Fine Arts, Budapest 5532

 

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The pornographic engraving representing an orgy of satyrs, bacchants and bacchantes is based on the relief of a Roman sarcophagus, whose motifs appear also in Giulio Romano’s compositions for I modi. Marcantonio Raimondi freely altered and added various details to his antique prototype.

cat023 (Raimondi 5516)


Marcantonio Raimondi
(1470/82−1527/34)
Raphael
(1483−1520)

The Judgement of Paris

c. 1518−20
Engraving, 292 × 435 mm
Museum of Fine Arts, Budapest 5516
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The composition was adapted from two ancient Roman sarcophagi that Raphael altered in the spirit of his mature classical style. Similarly to the working method he applied for his late commissions for paintings, Raphael may have delegated the creation of preparatory drawings for prints to his assistants. The preliminary drawing for The Judgement of Paris was probably made by workshop members, utilizing Raphael’s earlier Budapest Venus.

cat021 (Raimondi 2610)


Marcantonio Raimondi
(1470/82−1527/34)

Crouching Venus

c. 1509
Engraving
222 × 148 mm
Inv. no. 5610

 

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The main figure of the engraving derives from the same celebrated antique sculpture whose versions appear also in the sheet of studies by Perino del Vaga. Raphael borrowed the posture of the Virgin in the Esterházy Madonna, with the mediation of Leonardo’s drawings, from the same antique marble. In contrast to the frontal view of the Esterházy Madonna, Marcantonio depicted the statue from a side-view and complemented it with a Dürer-like landscape. The curiosity of the Budapest impression is that it was printed in red.

cat011 (Raimondi 25102)


Marcantonio Raimondi
(1470/82−1527/34)
Raphael
(1483−1520)

Parnassus

c. 1517−20
Engraving, 353 × 468 mm
Museum of Fine Arts, Budapest 25102
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Although the Mantuan engraver, Giorgio Ghisi transformed the fresco with an arched top into a rectangular format, he was certainly aware of the finished wall painting. This is proven by the inclusion of the seated figure in the foreground, usually identified as Michelangelo, that Raphael added subsequently to the fresco. The inscription describing the scene as Saint Paul preaching in Athens derives possibly from the publisher, and perhaps encouraged the selling of the print of a complex theological content.

cat006 (Raimondi H.6871)


Marcantonio Raimondi
(1470/82−1527/34)
Raphael
(1483−1520)

The Massacre of the Innocents (without fir tree)

c. 1511−12
Engraving, 277 × 425 mm
Museum of Fine Arts, Budapest H.6871
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The production of the new version of the engraving may have been encouraged by the success of the composition. As the original plate was in the possession of Raphael, the engraver would not have profited from its reprinting. Thus a few years later Marcantonio pirated his own best-selling work.

cat005 (Raimondi 5536)


Marcantonio Raimondi
(1470/82−1527/34)
Raphael
(1483−1520)

The Massacre of the Innocents (with fir tree)

c. 1511−12
Engraving, 277 × 428 mm
Museum of Fine Arts, Budapest 5536
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The composition belongs to the Florentine tradition of multifigured scenes populated by male nudes, beginning with the Battle of the Nudes by Antonio Pollaiuolo. The  Massacre of the Innocents was the most celebrated and widely reproduced engraving of the period, and established the decade-long, fruitful print publishing collaboration of Raphael and the Bolognese engraver Marcantonio Raimondi. Two versions of the print have survived: the first with a small fir tree in the upper right corner, the second without.