MARC ANTONIO RAIMONDI Marcantonio 1480 1534 Italian renaissance engraver reproductive printmaker Imperial dictionary of universa
Marcantonio Raimondi was born around 1480-2, probably in Argine, near Bologna, Italy. Marcantonio received his training in the workshop of the famous goldsmith and painter of Bologna, Francesco Raibolini, best known as Francia. Vasari, a biographer, writes that Marcantonio quickly demonstrated more aptitude than Francia, and started designing and producing fashionable waist-buckles (among other items) in niello, engraved metal which is filled in with alloy in a contrasting colour. This is doubted, however, by Hind, who sees no evidence of a background in niello technique in his early engravings. No paintings produced by Marcantonio are known or documented, although some drawings survive. His first dated engraving, Pyramus and Thisbe, comes from 1505, although a number of undated works come from the years before this. From 1505 - 1511, Marcantonio engraved about 80 pieces, with a wide variety of subject matter, from pagan mythology, to religious scenes. His early works use his own compositions, combining elements from Francia and other North Italian artists, and like all Italian printmakers in these years he was strongly affected by the enormously accomplished prints of Dürer, which were widely distributed in Italy. Like other printmakers such as Giulio Campagnola, he borrowed elements of Dürer's landscapes in a cut and paste fashion, and also borrowed from his technique. Dürer was in Bologna in 1506, as was Michelangelo, and he may have met one or both of them. About this time he began to make copies of Dürer's woodcut series, the Life of the Virgin. This was extremely common practice, although normally engravers copied other expensive engravings rather than the cheaper woodcuts. However Dürer's woodcuts had raised the standard of the medium considerably, and since Marcantonio continued to copy a large number of both Dürer's engravings and woodcuts, he must have found it profitablevc His early copies included Dürer's famous AD monogram, and Dürer made a complaint to
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