Davide Vincitore di Golia

Davide vincitore di Golia   is an original artwork realized in  1506  ca. by the Italian Master  Marcantonio Raimondi  (c. 1470/82 – c. 1534).

Burin on precious laid paper. Inscriptions: the monogram MAF is present on the lower right corner.

The work is in good conditions, except for a compensation on the upper left corner and small traces of old assemblies.

Reference :

A. Bartsch,  Le Peintre-Graveur , Wien, 1803-1821, 21 voll, vol. XIV, 13.12.

H. Delaborde,  Marc-Antoine Raimondi: Etude Historique et Critique suivie d'un catalogue raisonné des oeuvres du maitre,  Paris, Librairie de l'art, 1888, p. 89, n. 5.

J. D. Passavant,  Le peintre graveur , Leipsic, 1860-1864, 6 voll., vol. VI, n.12.7.

M. Faietti, K. Oberhuber,  Bologna e l’Umanesimo. 1490-1510 , Bologna, Nuova alfa Editoriale, 1988, pp. 130-132, n. 21.

I. Shoemaker,  The engravings of Marcantonio Raimondi , Spencer Museum of Art, 1981, pp. 66-67, n. 8.

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An incredible and detailed Burin illustrates the myth of the young shepherd boy defeated the giant with only a slingshot.Critics do not agree on the date of the work, which oscillates between 1505 and 1506, although most art critics favor the second hypothesis, supported by the analysis of other engravings made in the same year. The work was created during the Bolognese period, when the artist, has not yet fully assimilated the greatness of classical Roman statuary. 

Marcantonio Raimondi , often called simply  Marcantonio  (c. 1470/82 – c. 1534), was an Italian engraver, known for being the first important printmaker whose body of work consists largely of prints copying paintings. He is therefore a key figure in the rise of the reproductive print. He also systematized a technique of engraving that became dominant in Italy and elsewhere. His collaboration with Raphael greatly helped his career, and he continued to exploit Raphael's works after the painter's death in 1520, playing a large part in spreading High Renaissance styles across Europe. Much of the biographical information we have comes from his life, the only one of a printmaker, in Vasari's Lives of the Artists.