(b ?Venice, 1500; d Padua, 10 Dec 1564). Adopted son of (1) Giulio Campagnola. He was of German extraction and was apprenticed to Giulio in Venice c. 1507. A group of drawings of pastoral subjects, indebted to Giorgione and to Dürer, includes the slightly tentative Landscape with Two Youths (London, BM) and Landscape with Boy Fishing (Washington, DC, N.G.A.) and may be dated to his earliest years, perhaps before 1517. His independent career began in 1517–18 with a group of engravings and woodcuts that are largely independent of Giulio Campagnola but clearly indebted to the work of Titian. Indeed, the close correspondence between Domenico’s work and Titian’s has led to suggestions that Domenico was responsible for the forged Titian drawings (e.g. New York, Met.) taken from counterproofs of the master’s woodcuts (see Dreyer; Byam Shaw). Domenico’s own prints are executed in an unusually flowing and sketchy technique and include enigmatic, pastoral themes, such as the Shepherd and Old Warrior (1517; H 9), which recalls the moody poetry of Giorgione, and religious subjects, such as the Assumption of the Virgin (1517; H 3). This latter depends on Titian’s painting of that subject (Venice, Frari), completed the following year, which suggests that Domenico had access to Titian’s workshop. Domenico’s main innovation was in the technique of the woodcut, and it is evident that he cut the blocks himself rather than relying on a professional cutter. The energy of the unusually bold Vision of St Augustine (1517; see 1976–7 exh. cat., no. 19) is indebted to such works as Titian’s woodcut of St Jerome, cut by Ugo da Carpi (1976–7 exh. cat., no. 18).

Part of the Campagnola family

• Campagnola, Domenico
  • Benavides, Marco Mantova
  • Campagnola
  • Engraving, §II, 3(i)(b): Major exponents and their influences, c 1500–c 1600: Raimondi
  • Venice, §II, 3(i): Art life and organization, 1454–1599: Painting
  • attributions
    • Rembrandt van Rijn, §I, 5(ii): Bankruptcy and final years, 1656–69: Etchings and drawings
  • collaboration
    • Venice, §III, 1: Centre of production: Manuscripts, books and prints
  • patrons and collectors
    • Prints, §V: Collecting and connoisseurship
  • reproductive prints by others
    • Fontana (iii): (1) Giovanni Battista Fontana
  • works
    • Campagnola: (1) Giulio Campagnola
    • Crayon manner, §2: History
    • Drypoint, §2: History
    • Landscape painting, §II, 4(iii): 16th century: Italy
    • Prints, §II, 1(viii): Subject-matter, before c 1700: Landscape
    • Woodcut, §II, 3(iii): 16th century: Italy