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efforts. Il
Baviera was the keeper of all the original plates made by Marcantonio and his colleagues; the accuracy of Dente's imitation was fore mostly intended to mislead Il Baviera, the keeper of the original plates. The marketing of Dente's works as masterpieces by Il Baviera would have meant both Dente and Baviera would have profited from the forgery.
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occurred on the sculpture after Dente's death, that links
Raphael, whose long-standing involvement with the Laocoon is known, to co-operating with regard to ideas for this specific plate. The engraving attempts to combine the narrative and visual aspects of the Laocoon. Dente was also a member of Raphael's social circle.
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However, the artist's dedication to accuracy in his reproductive method had a purpose. It was not to deceive the buyer, who could be fooled with less effort; it also was not to deceive
Marcantonio, who as an experienced engraver, would have been able to identify it is a forgery regardless of Dente's
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nature of his works. The reproductive nature of Dente's work served three functions. The first was to replicate an event in history; the second was to advance financially; the third was to produce with an intent to distribute the print, and as an extension, the print's conceptual elements too. There
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is a commentary on the restoration of Rome that was likely dictated by
Raphael himself. Dente's engraving of the Laocoon was completed before the restorations occurred on the excavated sculpture in 1530. It is the discrepancy in Dente's depiction of a complete sculpture, and the fact restorations
340:, in his Dictionary of Painters and Engravers, portrays Dente as a professional forger, with deceptive intents of his imitation. This portrayal has merit. Many of Dente's works were copied line by line; others have inscriptions and signatures that directly correspond to originals by Marcantonio.
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Marco Dente is not a well-known figure in the
Renaissance. The reproductive nature of his works contributed to the subversion of his identity. There was much debate surrounding the attribution of artists within Marcantonio Raimondi's School, and their respective plates. Also contributing to the
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Raphael's involvement with the conceptual production of the plate is further corroborated by the fact that Il
Baviera, Raphael's publisher, retained Marco Dente's plate for the Laocoon - evidence that Dente's print, or the design for it, belonged to Raphael. The piece was not like other works
138:. The workshop frequently used preliminary drawings from Raphael's studio to inform its practice, his studies of the city's archaeological remains were specifically influential. Both Raphael and Dente had 'mutual interests in the ruins of Rome' - mirroring the general trend of
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or close copies of other prints that were most of his output. His prints in specific cases are also of certain interest in that we can see the impact and design of sculptural restorations. Marco Dente was killed in the tumult of the
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The engraving attempts to illustrate a glimpse of the history of the subject, but also convey
Raphael's commentary on the restorations of antiquity. In Dente's print of the Laocoon and his Sons, he uses the 'R S'
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subversion of his identity was that every plate in Dente's studio was destroyed during the Sack of Rome. Marco Dente was killed in the same war; and very few of his plates were later reissued by publishers.
96:. Dente and Agostino di Musi formed the first generation of Marcantonio's school. However, between the two artists, Dente was considered to have come closest to mastering the technique of engraving.
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family who grew up and lived in
Ravenna for the majority of his life. He was an integral member of Marcantonio Raimondi's school of art, joining in 1516; Dente was likely an apprentice alongside
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has argued Dente's print was based on a lost
Raphael drawing. The link suggesting Raphael's influence is clear. Dente's effort to reintegrate the sculpture with the ruins of
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so precisely' in so many of his prints. It is common to see evidence of Dente's precision through his replication of arduously minute details of the
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One of the most notable of Dente's pieces, and the one which seems to define the relatively unknown printmaker, is his version of the
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of an ancient statue of the same subject in 1506. Dente was heavily influenced by classical antiquity. His pieces
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Two of Dente's other famous works are his 'Battle of the
Innocents', produced from a piece of the same title by
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was a growing demand for depictions of antique relief in the middle of the sixteenth century. The school's
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function was facilitated by the markets within La Bottega del Cartolaio; this is largely where
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Viljoen, Madeleine (September 2004). "Prints and False Antiquities in the Age of Raphael".
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The Laocoon is the only plate on which the engraver inscribed his name, 'Mrcus Ravenas'.
192:. This print by Dente is significant in that it was engraved just after he witnessed the
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executed by Raimondi's School, which were usually copies of other artists' preliminary
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in the latter part of the 15th Century. He was a prominent figure within the circle of
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Viljoen, Madeleine (December 2001). "Raphael and the Restorative Power of Prints".
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and his two sons. However, the majority of his known pieces like his depiction of
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A History of Engraving & Etching from the 15th Century to the year 1914
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Marco Dente's skill as an imitator was clear. The artist is said to have '
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Wright, David H. "The Vatica Vergil: A Masterpiece of Late Antique Art".
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Lord, Carla (Summer 1984). "Raphael, Marcantonio Raimondi, and Virgil".
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by Marcantonio and Marco Dente were able to be exchanged or acquired.
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of reproductive engravings in the Renaissance depicting antiquity.
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in 1527. He used the accompanying monogram, D-B; albeit sparingly.
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restored to its former glory. The piece seeks to 'harmonize the
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Catalogue of a Collection of Engravings, Etchings, and Woodcuts
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Dictionary of Painters and Engravers, Biographical and Critical
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Beatrizet and the 'reproduction' of antique relief sculpture
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The characteristic that defines Marco Dente's work is the
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Marco Dente's most notable work is his depiction of the
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in Rome, and is known for the imitative nature of the
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Battle scene in a landscape with soldiers on horseback
550:Classical World: A Quarterly Journal on Antiquity
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33:(1493–1527), usually just called
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537:. J.C. Wilkins. pp. 58–60.
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574:16th-century Italian painters
289:narrative'. Evidenced by the
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494:Notes in the History of Art
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478:: 378–379, 380, 382, 384.
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533:Fisher, Richard (1879).
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277:. Raphael wanted to see
400:Bryan, Michael (1903).
299:Pliny's Natural History
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422:Landau, David (1994).
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132:The Judgement of Paris
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568:Categories
348:References
194:excavation
190:The Aeneid
106:commercial
287:Virgilian
86:patrician
268:monogram
260:frescoes
256:drawings
178:Laocoon.
142:and the
94:engraver
41:born in
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303:obelisk
283:Plinian
170:Laocoön
157:Laocoon
136:Raphael
122:Laocoön
49:around
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330:forged
307:temple
275:priest
272:Trojan
242:Fig. 2
212:Fig. 2
186:Virgil
182:Fig. 1
172:, 1519
166:Fig. 1
130:, and
110:prints
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216:genre
144:Greek
140:Roman
116:Works
279:Rome
200:and
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