Domenico Campagnola

Domenico Campagnola , 1500-c.1564, painter and engraver. Although Campagnola worked exclusively in Italy, there are documents indicating that he was of German origin. He was a pupil and the adopted son of Giulio Campagnola, and he may have assisted Titian in the decorating of the Scuola del Santo. He painted chiefly in the churches of Padua. His best-known works are three frescoes in the Scuola del Carmine, Padua; Four Prophets (Academy, Venice); and Holy Family (Pitti Palace, Florence). His composition and warmth of color indicate his debt to Titian. Campagnola is celebrated also for his engravings, woodcuts, and masterly pen-and-ink drawings, which resemble Titian's closely in their clear linear quality and deep shading. Examples are in the Uffizi and in the British Museum.

Campagnola, Giulio (b Padua, c.1482; d Venice, c.1518). Italian artist, active mainly as an engraver. He was the son of a humanist scholar and is said to have been skilled in ancient languages and in music. After working at the Gonzaga court in Mantua and the Este court in Ferrara, by 1507 he had moved to Venice. It is with this city that he is chiefly associated, his engravings of idyllic landscape subjects playing a major role in spreading the style of Giorgione and Titian. His many copies after Dürer likewise disseminated knowledge of this artist in Italy. Giulio's pupil and adopted son Domenico (b ?Venice, c.1500; d Padua, 10 Dec. 1564) was also a printmaker, but his preferred medium was woodcut rather than engraving. In addition he sold his drawings (mainly landscapes) as finished compositions, sometimes passing them off as the work of Titian. In about 1520 he settled in Padua and became one of the city's leading painters, as well as continuing his activities as printmaker and draughtsman.

Campagnola, Giulio (c.1482–c.1518). Italian artist, active mainly as an engraver. He was born in Padua, the son of a humanist scholar, and is said to have been skilled in ancient languages and in music. After working at the Gonzaga court in Mantua and the Este court in Ferrara, by 1507 he had moved to Venice. It is with this city that he is chiefly associated, his engravings of idyllic landscape subjects playing a major role in spreading the style of Giorgione and Titian. His many copies after Dürer likewise disseminated knowledge of this artist in Italy. Giulio's pupil and adopted son, Domenico (c.1500–64), was also a printmaker, but his preferred medium was woodcut rather than engraving. In addition he sold his drawings (mainly landscapes) as finished compositions, sometimes passing them off as the work of Titian. In about 1520 he settled in Padua and became one of the city's leading painters, as well as continuing his activities as printmaker and draughtsman.