Collection of Prints and Drawings

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Production People
Domenico Campagnola (Print made by)artist bio
Campagnola, Domenico
b ?Venice, 1500; d Padua, 10 Dec 1564

Vieceri (Published by)artist bio
Vieceri [il]
fl 1650-1700
Title / Description
The Massacre of the Innocents
535 x 813 mm (sheet, trimmed)
Signed and dated lower left on a tablet: 'DOMINICVS/CAMPAGNOLA/MDXVII', the publisher's address at lower right has been trimmed
late state
to be checked
Nikolaus Esterházy (Lugt 1966)
Bartsch XIII.384.1 info
Adam Bartsch, Le peintre-graveur, vols. 21, Vienna 1803-21

Nagler, Künstler-Lexicon vol. 1, p. 310 info
Georg Kaspar Nagler, Neues allgemeines Künstler-Lexicon, 22 vols., Munich 1835-52

Nagler, Monogr. vol. 2, p. 397, no. 11 info
Georg Kaspar Nagler, Die Monogrammisten, 6 vols., Munich 1858–79

Galichon 1864, p. 545, nos. 3-4 info
Émile Galichon, 'Domenico Campagnola, peintre-graveur du XVIe siecle,' Gazette des Baux-Arts 17 (1864), pp. 456-61, 536-53

Tietze and Tietze-Conrat 1939, p. 467, no. 3 info
Hans Tietze and Erika Tietze-Conrat, 'Domenico Campagnola's Graphic Art,' The Print Collector's Quarterly 26 (1939), pp. 311-33, 444-69

Ihle 1955, p. 17, no. 16 info
B. L. D. Ihle, Venetiaanse prentkunst van Jacopo de' Barbari tot Tiepolo, exhibition catalogue, Rotterdam, Museum Boijmans van Beuningen 1955

Oberhuber 1966a, p. 120, no. 179 info
Konrad Oberhuber, Renaissance in Italien. 16. Jahrhundert, exhibition catalogue, Vienna, Albertina 1966

Levenson, Oberhuber, and Sheehan 1973, p. 556, no. C-8
(entry by Konrad Oberhuber) info
Jay A. Levenson, Konrad Oberhuber, and Jacquelyn L. Sheehan, Early Italian Engravings from the National Gallery of Art, exhibition catalogue, Washington, National Gallery of Art 1973

Rosand and Muraro 1976a, no. 24 info
David Rosand and Michelangelo Muraro, Tiziano e la silografia Veneziana del cinquecento, exhibition catalogue, Venice, Fondazione Giorgio Cini 1976

Rosand and Muraro 1976b, no. 20 info
David Rosand and Michelangelo Muraro, Titian and the Venetian Woodcut, exhibition catalogue, Washington D.C., National Gallery of Art 1976

Appuhn and Heusinger 1976, p. 33 info
Horst Appuhn and Christian von Heusinger, Riesenholzschnitte und Papiertapeten der Renaissance, Uhl 1976

Santagiustina Poniz 1979-80, pp. 307, 314, no. 15 info
Anna Santagiustina Poniz, 'Le stampe di Domenico Campagnola,' in Atti dell'Istituto Veneto di Scienze, Lettere ed Atti CXXXVIII (1979-80), pp. 303-19

Zucker in TIB 1984, 2519.001 (only state) info
Mark J. Zucker, Early Italian Masters, The Illustrated Bartsch, vol. 25, Part 2 (Commentary), New York 1984

Van der Sman 2003, no. III.8 (as Anonymous Artist after
Domenico Campagnola) info
Gert Jan van der Sman, Le siècle de Titien: Gravures vénitiennes de la Renaissance, exhibition catalogue, Maastricht, Bonnefantenmuseum and Bruges, Musée des Beaux-Arts 2003
This is the largest and most ambitious print associated with Domenico Campagnola, made in his early career. The woodcut survived only in late impressions with the address of a late seventeenth-century publisher, Il Vieceri, who probably acquired and re-issued the original woodblocks. According to Van der Sman 2003, some of the figures, for example the nude man at right, were inspired by Marcantonio Raimondi's famous engraving after Raphael. A drawing of the same subject attributed to Domenico Campagnola is preserved in the British Museum, inv. no. 1892,0411.3.
Inventory Number
Prints: Italian: 16th century: Mounted III
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