The Apostle Andrew, Marcantonio Raimondi, 1510 - 1520, Graphic Art, Copper Engraving, Only when photography became the preferred medium for reproduction in the course of the 19th century did Marcantonio Raimondi’s prints surrender to the competition after he had for three hundred years maintained his reputation as the most important of Renaissance engravers. Here, he has reproduced Raphael’s (1483-1520), The Apostle Andrew, against a neutral, hatched background, isolated from any external association. This was something new at the beginning of the 16th century. The figure of St Andrew was thus transformed into a 'type'. And when taken together, Raimondi’s many 'types' could act as a vocabulary – a visual alphabet – for other artists. Here, they could find ideas which they could further develop in their own compositions., Paper, Color, Printer's ink, Copper engraving, Printet, Height (plate size) 210 mm, Height (paper size) 590 mm, Width (plate size) 140 mm, Width (paper size) 438 mm, S ANDREAS, 3, Graphic Design, European, Renaissance (1300 - 1690)
Keywords:
Apostle Andrew, Marcantonio Raimondi, 1510, 1520, Graphic Art, Copper Engraving, photography, preferred medium, reproduction, course, 19th century, Marcantonio Raimondi’s prints surrender, competition, three hundred years maintained, reputation, important, Renaissance engravers, reproduced Raphael’s, 1483-1520, Apostle Andrew, neutral, hatched background, isolated, any external association, something new, 16th century, figure, St Andrew, thus transformed, type, together, Raimondi’s, types, act, vocabulary –, visual alphabet –, artists, find ideas, further develop, own compositions, Paper, Color, Printer's ink, Copper engraving, Printet, Height, plate size, 210 mm, Height, paper size, 590 mm, Width, plate size, 140 mm, Width, paper size, 438 mm, S ANDREAS, 3, Graphic Design, European, Renaissance, 1300, 1690
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