Collection of Prints and Drawings

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Giulio Campagnola (Print made by)artist bio
Campagnola, Giulio
b Padua, c. 1482; d Venice, after 1517

Domenico Campagnola (Print made by)artist bio
Campagnola, Domenico
b ?Venice, 1500; d Padua, 10 Dec 1564
Title / Description
Shepherds in a Landscape
c. 1507-09 and c. 1515-17
engraving with stipple
136 x 256 mm (sheet, trimmed close to platemark)
only state
Nikolaus Esterházy (Lugt 1966)
Bartsch XIII.383.9 (as Domenico Campagnola) info
Adam Bartsch, Le peintre-graveur, vols. 21, Vienna 1803-21

Hind V.196.6 (as Giulio and Domenico Campagnola) info
Arthur Mayger Hind, Early Italian Engraving: A Critical Catalogue with Complete Reproduction of All the Prints Described, vols. 1-4 (part 1, Florentine Engravings and Anonymous Prints of Other Schools), London 1938; vols. 5-7 (part 2, Known Masters Other Than Florentines, Monogrammists and Anonymous), London 1948

Levenson, Oberhuber, and Sheehan 1973, no. 150 (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

Landau in London 1983, no. P7 info
David Landau, 'Printmaking in Venice and the Veneto' in The Genius of Venice 1500-1600, eds. Jane Martineau and Charles Hope, exhibition catalogue, London, Royal Academy of Arts 1983, pp. 303-54

Zucker in TIB 1984, 2519.012 (only state) info
Mark J. Zucker, Early Italian Masters, The Illustrated Bartsch, vol. 25, Part 2 (Commentary), New York 1984

Paris 1993, no. 133 (entry by Konrad Oberhuber) info
Le siècle de Titien: l'âge d'or de la peinture à Venise, eds. Michel Laclotte and Giovanna Nepi Scirè, exhibition catalogue, Paris, Grand Palais 1993

Van der Sman 2003, no. II.6 (only state) 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
Although Bartsch and Passavant attributed the print to Domenico Campagnola only, modern scholars generally agree in its dual authorship. The landscape at right was engraved by Giulio Campagnola, and probably because he was not satisfied with it, the figures and trees at left were completed by his adopted son, Domenico. According to Landau in London 1983, apart from St Jerome, this is the only print that Giulio left unfinished and did not work on it later. The right half of the composition reflects Giulio's drawing in reverse, an early masterpiece of landscape drawing, pricked for transfer, today in the Louvre, inv. no. RF 4648; see Konrad Oberhuber in Paris 1993, no. 93. Instead of the two figures in Giulio's drawing, Domenico engraved four musicians, in a more dynamic style, therefore the two parts of the composition do not form a real unity. The plate was probably damaged originally at the lower corners. As Matthias Wivel recently noted in the Print Quarterly 31 (2014), p. 426, new yet unpublished discoveries of Irene Brooke have convincingly suggested that Giulio Campagnola was still alive in 1517, which supports the theory that Domenico’s addition may have been done under the senior master’s supervision, probably as a training piece.
Inventory Number
Prints: Italian: 15th century: Mounted I
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