Domenico Campagnola
Domenico Campagnola (c. 1500–1564) was an Italian painter and
, but whose most influential works were his drawings of landscapes.Life and work
Born probably in
His engravings, fourteen of which are known, were produced in a short burst in 1517-18, when he was still in his teens; most are dated 1517. On some his name appears in full, on others, abbreviated "Do.Cap" or "Do.Camp." (for "Domenico Campagnola"). He appears to have cut his own blocks for his woodcuts, using a very different style from the professional cutters most artists employed. Like his father he was a versatile and experimental artist. His landscape drawings were produced as finished products for sale; he was one of the first artists to do this. He may have included etching on some plates, including the Old soldier and shepherd.
His most successful prints include his Old soldier and shepherd [1], his Battle of naked men, and his Assumption.
One engraving appears to have been begun by his father and completed by Domenico, perhaps after his father died. He fell out seriously with Titian, perhaps as a result of the sharp practice which Peter Dreyer has discovered in recent years; it is thought to be Domenico who took very faint counter-proof impressions of some Titian woodcuts, which were then worked over in ink and passed off as Titian's preliminary drawings.[4] This may well have played a part in bringing to an end Titian's first period of serious interest in making prints based on his work; it was to be some decades before he began collaborating with
Many drawings long considered by Titian are now thought to be by Domenico, and attribution of many is still disputed, as some earlier drawings are disputed between his father Giulio, Titian, and Giorgione. Drawings have also been reattributed from Domenico to Giulio Campagnola.[5] He began by closely following the style of his father and Titian in producing landscapes with figures, but produced larger numbers, and made them directly for sale, so that it is largely through him that this influential typology became widely known. According to James Byam Shaw:"In later drawings, Campagnola debased this style of landscape into a kind of facile mannerism; nevertheless he furnished inspiration for Italian draughtsmen for generations to come, including ... Agostino and Annibale Carracci, and Domenichino and Grimaldi later still."[6]
Surviving paintings
Most of his paintings have been destroyed.
References
- ^ Jay A. Levinson (ed.) Early Italian Engravings from the National Gallery of Art, pp 410-436 National Gallery of Art, Washington (Catalogue), 1973, LOC 7379624
- ^ Farquhar, Maria (1855). Ralph Nicholson Wornum (ed.). Biographical catalogue of the principal Italian painters. London: Woodfall & Kinder. p. 36.
- ^ ULAN
- ^ David Landau in Jane Martineau (ed), The Genius of Venice, 1500-1600, p. 305, 1983, Royal Academy of Arts, London.
- ^ See for example no. D9 on p.251 of The Genius of Venice op cit (Three Philosophers in a Landscape, Lugt Collection, Paris)
- ^ The Genius of Venice op cit, p 243.
- ^ Williamson, George Charles (1908). Catholic Encyclopedia. Vol. 3. .
External links
- Joconde - many attributed drawings from French museums
- NGA washington; three drawings and a woodcut
- Two drawings and a biography from the Getty
- Numerous drawings and engravings by Campagnola
- Pieter Bruegel the Elder: Drawings and Prints, a full text exhibition catalog from The Metropolitan Museum of Art, which includes material on Domenico Campagnola (see index)