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The Rape of the Sabines, 1585
Andrea Andreani (Italian, Mantuan, 1558/59–1629), after a bronze relief by Jean Boulogne, called Giambologna (Flemish, ca. 1529–1608)
Chiaroscuro woodcut from four blocks, on three paper panels; left panel, sheet 29 3/8 x 10 1/4 in. (74.6 x 26 cm) (trimmed to block line); center panel, sheet 29 1/2 x 12 3/4 in. (74.9 x 32.4 cm) (trimmed to block line); right panel, sheet 29 3/4 x 13 7/8 in. (75.6 x 35.2 cm) (trimmed to block line)
Rogers Fund, 1922 (22.73.3[73–75])

According to legendary accounts of the founding of Rome, the new city established by Romulus lacked women. The king invited the neighboring peoples, who were unwilling to intermarry with the Romans, to athletic games, and at a predetermined signal, each Roman youth carried off an unmarried woman from the Sabine contingent as his bride. When the Sabines later attacked Rome, the women ran onto the battlefield and secured peace between their fathers and husbands.

Andreani, who was alone in reviving the technique of the chiaroscuro print at the end of the sixteenth century, created a number of ambitious works. This spectacular woodcut reproduces, to scale but with slight adjustments, the plaque that was intended to clarify the subject of Giambologna's celebrated marble group in the Loggia dei Lanzi in Florence.


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  • The Rape of the Sabines, 1585
    Andrea Andreani (Italian, Mantuan, 1558/59–1629), after a bronze relief by Jean Boulogne, called Giambologna (Flemish, ca. 1529–1608)
    Chiaroscuro woodcut from four blocks, on three paper panels; left panel, sheet 29 3/8 x 10 1/4 in. (74.6 x 26 cm) (trimmed to block line); center panel, sheet 29 1/2 x 12 3/4 in. (74.9 x 32.4 cm) (trimmed to block line); right panel, sheet 29 3/4 x 13 7/8 in. (75.6 x 35.2 cm) (trimmed to block line)
    Rogers Fund, 1922 (22.73.3[73–75])