Czére Andrea szerk.: A Szépművészeti Múzeum közleményei 102-103. (Budapest, 2005)

ZOLTÁN KÁRPÁTI: A Late Drawing by Domenico Campagnola

A LATE DRAWING BY DOMENICO CAMPAGNOLA ZOLTÁN KÁRPÁTI Although the beginnings of independent Italian landscape drawing are linked to Titian (1485/90-1576), only a few drawings have been preserved, and thus, all that we know today about the early sixteenth-century Venetian landscape drawing is largely thanks to his younger contemporary and follower, Domenico Campagnola (1500-1564).' The popularity of the Venetian-born Paduan master's landscape drawings produced in the manner of Titian's early style, however, overshadowed his late figurai compositions for some time. While the meticulously detailed precision of his early drawings, possessing the delicacy of engravings, was inspired by Titian and Palma il Vecchio (ca. 1480-1528), as well as his foster father and master, Giulio Campagnola (1482-1515), it was the generation of the Mannerists, and first and foremost Giuseppe Salviati (1520-1575), who left their mark on his mature style. This radical turn in his artistic style, appearing initially in the frescoes of the Sala dei Giganti in the Palazzo del Capitano, Padua that he commenced in 1540, also fundamentally transformed his drawing style. This duplicity of his style, then, lead Hans Tietze and Erica Tietze-Conrat, who compiled the first catalogue of Campagnola's drawings, to consider the master's mature and later drawings as products of his workshop or copies, for the most part.

2 With a rekindled interest of the past few decades in Campagnola the draughtsman, thanks primarily to the studies of William R. Rearick, Elisabetta Saccomani and Anna Santagiustina Poniz, a good number of Campagnola's later drawings previously considered copies or the products of his workshop have returned to the fold of his rich,