Sculpture in Print, 1480–1600

Anne Bloemacher is Assistant Professor of Art History at the University of Münster, where she completed her PhD in 2012 with a thesis entitled Raphael and Marcantonio Raimondi. Recent publications treat erotic prints in Raphael’s circle and Maximilian I’s self-fashioning.Mandy Richter is working at the Kunsthistorisches Institut in Florenz – Max-Planck-Institut. She has published the monograph Die Renaissance der Kauernden Venus (Harrassowitz 2016) and is currently preparing the edited collection Indecent Bodies in the Renaissance with Fabian Jonietz and Alison Stewart.Marzia Faietti, former Director of Gabinetto dei Disegni e delle Stampe delle Gallerie degli Uffizi, teaches History of Drawing, Printmaking and Graphic Arts at the University of Bologna and at the Università Cattolica del Sacro Cuore in Milan. She is a scientific collaborator both of Uffizi and Kunsthistorisches Institut in Florenz—Max-Planck-Institut.

“This book provides a wonderful introduction to the topic in all its breadth.”Joris van Gastel, University of Zurich. In: Print Quarterly, Vol. 39, No. 4 (December 2022), pp. 456–460.

• List of FiguresNotes on Contributors“Quanto in virtù d’una ingegnosa mano / la fermezza de’marmi ai fogli cede”: The Art of Translating Sculpture into Print. An IntroductionAnne Bloemacher, Mandy Richter and Marzia FaiettiPart 1: Antique Sculpture1 Aes Incidimus: Early Modern Engraving as SculptureMadeleine C. Viljoen2 Transferring Ancient Sculptures into Prints. Marcantonio Raimondi’s “Quos Ego”: Its Prototypes and AfterimagesGudrun Knaus3 Marcantonio Raimondi and Fragmentary Ancient Statues: Hypotheses on His Working Method and Antiquarian PracticeMandy Richter4 Cherubino Alberti’s Engravings after Polidoro da Caravaggio: from Chiaroscuro to SculptureMaria Gabriella Matarazzo5 From Sculpture to Print to Sculpture. Parmigianino, Caraglio and the Mystery of the Barberini FaunMarzia FaiettiPart 2: Contemporary Sculpture6 The Reproduction of Sculpture as Sculpture in 16th Century Prints: Baccio Bandinelli, Giambologna, and Adriaen de VriesAnne Bloemacher7 The Young Baccio Bandinelli and the Role of Prints at the Beginning of a Sculptor’s CareerAngelika Marinovic8 Considering the Viewer in Prints of Michelangelo’s Risen Christ: The Cases of Beatrizet and MathamBernadine Barnes9 On the Genesis of Antonio Tempesta’s Print of Henry ii on HorsebackClaudia Echinger-Maurach10 Sculpture’s Narrativity in Northern Renaissance PrintsFranciszek Skibiński11 Models for Sculptures in Print: Michelangelo’s Samson and Two Philistines in Lucas Kilian’s EngravingsClaudia Echinger-MaurachIndex