An old man reclining on the ground at right; at left a naked younger man standing pointing toward the sun with and leaning on an anchor
ca. 1510–27
Medium
Engraving
Dimensions
Sheet: 3 1/16 × 2 1/16 in. (7.8 × 5.3 cm)
Classification
Prints
Department
Drawings and Prints
Museum
Metropolitan Museum of Art, New York, NY
Credit
The Elisha Whittelsey Collection, The Elisha Whittelsey Fund, 1949
Accession Number
49.97.127
Rights
Public Domain
Tags
Art Historical Context
In this intimate engraving by Marcantonioondi, a master of the Italian Renaissance, a nude young man stands boldly at left, pointing toward the radiant sun while leaning on a sturdy anchor, evoking themes of hope, strength, or enlightenment. At right, an older man reclines wearily on the ground amid trees, creating a poignant contrast between vitality and repose. Created around 1510–27, the work measures just 3 1/16 × 2 1/16 inches, a testament to Raimondi's skill in capturing nuanced human forms on a miniature scale. Raimondi, active in early 16th-century Rome, revolutionized printmaking by translating the grand designs of Raphael and Michelangelo into accessible engravings. This technique—involving precise incisions into a copper plate to hold ink—allowed detailed shading and texture, making high art available to collectors beyond elite patrons. Likely inspired by classical motifs or Renaissance ideals of the male nude, the scene blends mythological symbolism with natural elements like the sun and trees, reflecting humanism's fascination with the body and cosmos. Housed in the Metropolitan Museum of Art's Drawings and Prints department through the Elisha Whittelsey Collection, this print highlights engraving's role in democratizing Renaissance beauty, inviting viewers to ponder its enigmatic narrative up close.
About the Artist
Marcantonio Raimondi · 1475–1534
Marcantonio Raimondi (c. 1480–1534), born near Bologna, Italy, emerged as one of the Renaissance's premier engravers, revolutionizing printmaking through his mastery of reproductive techniques. He trained in the workshop of the goldsmith, painter, and niellist Francesco Francia, whose influence is evident in his early engravings, such as the goldsmith-like shading in *Pyramus and Thisbe* (1505), h...