The print, Two Putti...Striking Another Who Is Squeezing a Child, is attributed jointly to the Master of the Die and the celebrated Italian Renaissance master, Raphael. Executed using the challenging medium of engraving, this compelling work depicts a complex and energetic interaction between several winged child figures, commonly identified as putti or amori. The composition focuses on two putti actively involved in striking a third figure, who is simultaneously engaged in the forceful squeezing of a much smaller child.
Classified as a print, the historical dating suggests a period of production spanning approximately 1452 to 1592, firmly situating its origins within the creative fervor of the 1401 to 1500 era, encompassing both the Early and High Renaissance in Italy. The attribution indicates that the original design likely emerged from Raphael’s highly influential workshop in Rome, while the demanding task of translating that design into a reproducible format fell to the Master of the Die, a prolific printmaker known for his skillful use of the burin.
The function of prints was vital during the Renaissance, enabling the widespread dissemination of classical and contemporary Italian artistic ideals across Europe. Engravings such as this, produced by the Master of the Die, were crucial in establishing and solidifying the renown of the underlying designs by masters like Raphael. This piece demonstrates the detailed precision required for successful Renaissance-era prints, where fine line work creates depth, shadow, and texture.
This significant example of Renaissance printmaking, which provides insight into allegorical or mythological depictions of childhood, is preserved in the permanent collection of the National Gallery of Art. As a historical work from this important artistic period, the image today is frequently made available within the public domain, ensuring continued access to the technical collaboration between these key figures in Italian art history.
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