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Printmaking in the Renaissance spans a time period of approximately 150 years and a geographical orbit throughout much of Europe. It is an immense and complex corpus of material embracing works ranging from the merely utilitarian to images of the highest aesthetic and intellectual caliber. The process of production often involved an intimate collaboration between the artist-draftsman who created the image and the printmaker who rendered it in the form of an engraving, etching or woodcut print. Sometimes, most notably Albrecht Durer, the artist was also the printmaker. In other cases, the printmaker worked in the circle of an artist, such as Marcantonio Raimondi and Raphael, and the specific working relationship between the two personalities is sometimes difficult to unravel. As a medium characterized by the possibility of manufacturing multiple copies, Renaissance prints could be aimed at widely different audiences with widely different needs and expectations. Some prints are intended to communicate relatively simple and well-understood themes and ideas of social or spiritual significance to a broad audience. At other times, prints are designed as highly involved, even arcane, images of a rarefied content, intended for a well-educated and aesthetically sophisticated audience. Sometimes the purposes overlap. back to top 
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