DOI Page / Citation link:
https://doi.org/10.11588/diglit.61523#0044
40
Exhibition of Drawings and Sketches.
181. Landscape, in the manner of Giorgione, with two shepherds
in the foreground.
Pen and bistre.
From the Cracherode collection.
(B.M.).
The above three drawings are typical and charming examples of Campag-
nola’s earlier manner, when he worked in close imitation of Giorgione and
of the youthful Titian. The first two are authenticated by the artist’s
autograph signature; the last is erroneously inscribed in a later hand
with the name of Titian. It will be noted that the special marks of
Campagnola’s style, in contradistinction from that of Titian as illustrated
in nos. 172 and 173, are the lack of decorative arrangement and distinct-
ness of parts, the covering of the ground with somewhat conventional
mare’s-tail shading which does not effectively express its planes and undula-
tions, and the lack of organic growth and massing in the foliage, which
seems to hang detached from the trunks and boughs to which it belongs.
Domenico CAMPAGNOLA (attributed to).
182. Sketch for a composition of the Assumption of the Virgin:
retouched, in oil by Rubens.
Pen and bistre, re-touched in oil-colour.
From the Lely collection.
This very spirited sheet, in which both the action and proportions of the
Virgin differ from anything customary in the work of the Venetian school,
has been attributed both to Titian and Campagnola. Parts of the design,
principally the flight of angels above, have been retouched in oil, by or in
the manner of Rubens: and it is not impossible that the whole work may
be by a Flemish imitator of the Venetian masters rather than by a true
Venetian hand (M. 381).
183. Sketch for a composition of the Nativity.
Pen and bistre.
From the Mariette, De Fries, Lawrence, and Esdaile collections.
(M. 373).
184. Landscape with figures.
Pen and bistre, and bistre wash ; heightened with white.
From the Lord Spencer and Esdaile collections.
The use of bistre and white wash in addition to the pen-work is unusual in
the Venetian school, and seems an anticipation of the manner of Claude:
it may possibly be intended for reproduction in “ chiaroscuro ” [i.e. colour-
printed] wood-engraving (B.M.).
185. Landscape with figures.
Pen and bistre*
From the Bernard, Lawrence, and Esdaile collections.
(M. 384).
Domenico CAMPAGNOLA.
186. The Judgment of Midas.
Pen and bistre.
From the Lawrence collection.
(M. 390).
Ascribed in an old hand on the back of the sheet to Alessandro Varotari
(il Padovanino): nor is this an impossible attribution; but the types and
mode of drawing are so entirely like those of Campagnola in his later
manner that it seems better left among his works.
Exhibition of Drawings and Sketches.
181. Landscape, in the manner of Giorgione, with two shepherds
in the foreground.
Pen and bistre.
From the Cracherode collection.
(B.M.).
The above three drawings are typical and charming examples of Campag-
nola’s earlier manner, when he worked in close imitation of Giorgione and
of the youthful Titian. The first two are authenticated by the artist’s
autograph signature; the last is erroneously inscribed in a later hand
with the name of Titian. It will be noted that the special marks of
Campagnola’s style, in contradistinction from that of Titian as illustrated
in nos. 172 and 173, are the lack of decorative arrangement and distinct-
ness of parts, the covering of the ground with somewhat conventional
mare’s-tail shading which does not effectively express its planes and undula-
tions, and the lack of organic growth and massing in the foliage, which
seems to hang detached from the trunks and boughs to which it belongs.
Domenico CAMPAGNOLA (attributed to).
182. Sketch for a composition of the Assumption of the Virgin:
retouched, in oil by Rubens.
Pen and bistre, re-touched in oil-colour.
From the Lely collection.
This very spirited sheet, in which both the action and proportions of the
Virgin differ from anything customary in the work of the Venetian school,
has been attributed both to Titian and Campagnola. Parts of the design,
principally the flight of angels above, have been retouched in oil, by or in
the manner of Rubens: and it is not impossible that the whole work may
be by a Flemish imitator of the Venetian masters rather than by a true
Venetian hand (M. 381).
183. Sketch for a composition of the Nativity.
Pen and bistre.
From the Mariette, De Fries, Lawrence, and Esdaile collections.
(M. 373).
184. Landscape with figures.
Pen and bistre, and bistre wash ; heightened with white.
From the Lord Spencer and Esdaile collections.
The use of bistre and white wash in addition to the pen-work is unusual in
the Venetian school, and seems an anticipation of the manner of Claude:
it may possibly be intended for reproduction in “ chiaroscuro ” [i.e. colour-
printed] wood-engraving (B.M.).
185. Landscape with figures.
Pen and bistre*
From the Bernard, Lawrence, and Esdaile collections.
(M. 384).
Domenico CAMPAGNOLA.
186. The Judgment of Midas.
Pen and bistre.
From the Lawrence collection.
(M. 390).
Ascribed in an old hand on the back of the sheet to Alessandro Varotari
(il Padovanino): nor is this an impossible attribution; but the types and
mode of drawing are so entirely like those of Campagnola in his later
manner that it seems better left among his works.