Collection of Prints and Drawings

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Production People
Agostino Musi (Print made by)artist bio
Musi, Agostino dei [Agostino Veneziano]
b Venice, c. 1490; d ?Rome, after 1536

Marcantonio Raimondi (Print made by)artist bio
Raimondi, Marcantonio
b ?Argini, nr Bologna, c. 1470-82; d ?Bologna, 1527-34

Giulio Romano (Probably after)artist bio
Giulio Romano [Pippi]
b Rome, ?1499; d Mantua, 1 Nov 1546
Title / Description
The Carcass (Lo Stregozzo)
 
Technique
engraving, etching
Material
paper
Dimensions
308 x 631 mm (sheet, trimmed close to platemark)
Inscriptions
Inscribed with an empty tablet lower left
State
first or third state of four
 
Watermark
visible
Provenance
unidentified (Lugt 2169)
Nikolaus Esterházy (not stamped)
 
References
Bartsch XIV.321.426 (as Agostino Musi after Raphael,
first state of two) info
Adam Bartsch, Le peintre-graveur, vols. 21, Vienna 1803-21

Le Blanc III.77.159 (after Michelangelo, first state of
two) info
Charles Le Blanc, Manuel de l'amateur d'estampes, 4 vols., Paris 1854-90

Passavant VI.37.236 (as Marcantonio Raimondi after
Raphael, first state of two) info
Johann David Passavant, Le peintre-graveur, 6 vols., Leipzig 1860-64

Delaborde 1888, no. 175 (Marcantonio Raimondi and
Agostino Musi after Giulio Romano, first state of two) info
Henri Delaborde, Marc-Antoine Raimondi: Étude historique et critique suivie d'un catalogue raisonné des oeuvres du maitre, Paris 1888

Rome 1985, p. 262, no. II.1 (Marcantonio Raimondi and
Agostino Musi after Raphael, second state of three) info
Grazia Bernini Pezzini, Stefania Massari et al., Raphael invenit: Stampe da Raffaello nelle collezioni dell'Istituto Nazionale per la Grafica, exhibition catalogue, Rome, Calcografia Nazionale 1985

Davis 1988, no. 37 (as Marcantonio Raimondi, probably
after Giulio Romano, first or third state of four) info
Bruce Davis, Mannerist Prints: International Style in the Sixteenth Century, exhibition catalogue, Los Angeles, County Museum of Art 1988

Gnann in Mantua and Vienna 1999, no. 128 (as
Marcantonio Raimondi) info
Achim Gnann in Raphael und der klassische Stil in Rom: 1515-1527, eds. Konrad Oberhuber and Achim Gnann, exhibition catalogue, Mantua, Palazzo Te and Vienna, Albertina 1999

Höper 2001, no. A47 (Marcantonio Raimondi and Agostino
Musi) info
Corinna Höper, Raffael und die Folgen: Das Kunstwerk in Zeitaltern seiner graphischen Reproduzierbarkeit, exhibition catalogue, Stuttgart, Staatsgalerie Stuttgart 2001

Gramaccini and Meier 2009, no. 84 (as Agostino Musi) info
Norberto Gramaccini and Hans Jacob Meier, Die Kunst der Interpretation: Italienische Reproduktionsgrafik 1485-1600, Berlin and Munich 2009
 
Comment
Bartsch already noted the controversy about the authorship of this print. The insignia of the empty tablet is found in prints both by Marcantonio and Agostino Musi, but Davis pointed out that the triangular attachment was used only by the latter. Davis revised the states described by Bartsch and distinguished four states. He summerized the theories regarding the authority of the print and a possible collaborative effort by the two printmakers. Noting that the dilemma may only be resolved by stylistic analysis, he agreed with Konrad Oberhuber and concluded it is a late work by Marcantonio, and suggested Agostino's role was limited to minor details. It was even proposed (see a short note in Print Quarterly 1985, p. 50) that the engraver may be Giorgio Ghisi. The invention of the composition had similarly been much debated, the proposed attributions included Raphael, Michelangelo, Giulio Romano, Girolamo Genga and Marcantonio himself. Davis thinks it is Giulio Romano's art of this period with which Lo Stregozzo has most in common. The engraver derived most figures from other artworks. The muscular figures are close to some soldiers in the Vision of Constantine in the Sala di Costantino, Vatican. Tho old witch resembles Dürer's engraving The Witch (Bartsch X.82.67). The subject of the print is also puzzling, see Davis.
 
Inventory Number
25098
 
Classification
Prints: Italian: 16th century: Mounted III
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