Hostname: page-component-848d4c4894-2xdlg Total loading time: 0 Render date: 2024-06-24T08:37:37.327Z Has data issue: false hasContentIssue false
  • English
  • Français

Asleep in the Grass of Arcady: Giulio Campagnola's Dreamer*

Published online by Cambridge University Press:  20 November 2018

Patricia Emison
Patricia Emison*
Affiliation:
University of New Hampshire
Get access Rights & Permissions [Opens in a new window]

Extract

The rarest figural view is that involving a protagonist seen from behind, not directing a look outward toward the spectator. One such example is Giulio Campagnola's engraving of a solitary woman in a landscape, seen in a three-quarters rear view (fig. i). Radically stripped of iconographic attributes as it is, this print is less narrative, or even lyrical, in its presence than many pastoral compositions. Here there is no warm, atmospheric, and mellow world of wish-fulfillment as in the Dresden Venus. Giulio offered no paper Giorgione but rather a place in which lush vegetation clashes against sharp turrets, and no Cupid attends upon dormant, soft female flesh. Giulio distanced the image from predigested literary conventions. Yet the art historical inclination is to assimilate Giulio's work to Giorgione's, and furthermore to understand Giorgione's importance as consisting in his visualization of the hitherto literary world of pastoral. Ut pictor poe'sis can be too handy an axiom.

Type
Studies
Information
Renaissance Quarterly , Volume 45 , Issue 2 , Summer 1992 , pp. 271 - 292
Copyright
Copyright © Renaissance Society of America 1992

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

Footnotes

*

A version of this paper was delivered at the Renaissance Society Annual Meetings, Cambridge, MA, April, 1989. A longer lecture was delivered at Wellesley College in February, 1990, as part of the series “Court and Culture in the Renaissance.” My thanks for comments given on both occasions, for a reading by Peter Parshall scrupulous on multiple levels, and especially to David Feldman, who has helped throughout. My work on this subject extends back to my doctoral thesis at Columbia University, “Invention and the Italian Renaissance Print, Mantegna to Parmigianino” (1985), advised by David Rosand.

References

Anderson, Jaynie. “Giorgione. Titian and the Sleeping Venus.” In Tiziano e Venezia, Coiwcgno Internazionale di Studi, 337- 42. Vicenza, 1980.Google Scholar
Aretino, Pietro. The Ragionameuti. Ed. Peter, Strafford. London. 1970.Google Scholar
Artemidoro di, Daldi. Dell'intcrpretatione de’ sogni [1542]. Milan. 1976.Google Scholar
Ascoli, Albert. Arisoto's Bitter Harmony, Crisis and Evasion in the Italian Renaissance. Princeton, NJ, 1987.Google Scholar
Bober, Phyllis P., and Ruth O., Rubinstein. Renaissance Artists and Antique Sculpture. London, 1986.Google Scholar
Brantôme, . Les plus verts discours des Dames Galantes. Ed. Bastide, M.. Paris, 1966.Google Scholar
Broun, Francis. “The Louvre ‘Concert Champêtre': A Neoplatonic Interpretation.” In Ficino and Renaissance Ncoplatonism, ed. Konrad, Eisenbichler and Olga, Z. Pugliese, 29–38. Ottawa. 1986.Google Scholar
Calvesi, Maurizio. “La'mortedibacio.'Saggio sull'eretisnio di Giorgione.” Storia dell'arte 7/8 (1970): 185.Google Scholar
Cardanus, Hieronymus. Desnbtilitate. Basel, 1560.Google Scholar
Chojnacki, Stanley. “The Power of Love: Wives and Husbands in Late Medieval Venice. “ I n Women and Power in the Middle Ages, ed. Erler, M. and Kowaleski, M., 126-48. Athens, GA, 1988.Google Scholar
Cook, Albert. Dimensions of the Sign in Art. Hanover, NH, 1989.Google Scholar
Dardano, Luigi. La bella e dotta difesa delle domie in versa, e prosa. Venice, 1554.Google Scholar
Eiche, Sabine. “ O n the Dispersal of Cardinal Bembo's Collections.” Mitteihmgen des Kunsthistorischen Institutes in Florenz 27 (1983): 353-59.Google Scholar
Einem, Herbert von. Giorgione, der Maler als Dichter. Akademie der Wissenschaften und der Literatur. Mainz. 1972.Google Scholar
Emison, Patricia. The Art of Teaching: Sixteenth-Century Allegorical Prints and Drawings. Exh. cat., Yale University Art Gallery. New Haven, 1986.Google Scholar
Emison, Patricia. “The Concert Champetre and Gilding the Lily.” Burlington Magazine 133 (1991): 195-96.Google Scholar
Equicola, Mario. Libro di natnra d'amore [ 1526]. In Scritti d'arte del Cinqiieccnto, vol. 11, ed. Paola, Barocchi. Milan, 1973.Google Scholar
Faietti, Marzia, and Konrad, Oberhuber. Bologna el'nmaiicsimo, 1490-1510. Exh. cat., Pinacoteca Nazionale. Bologna, 1988.Google Scholar
Federman, Lillian. Surpassing the Love of Men: Romantic Friendship and Love Between Women from the Renaissance to the Present. New York, 1981.Google Scholar
Fehl, Philip. “The Hidden Genre: A Study of the Concert Champetre in the Louvre.” Journal of Aesthetics and Art Criticism 16 (1957): 153-68.Google Scholar
Filelfo, Francesco. See Petrarch.Google Scholar
Flandrin, Jean Louis. “Repression and Change in the Sexual Life of Young People in Medieval and Early Modern Times.” In Family and Sexuality in French History, ed. Robert, Wheaton and Tamara, Hareven, 27–48. Philadelphia, 1980.Google Scholar
Frantz, David. “Fcstinn Voluptatis,” A Study of Renaissance Erotica. Columbus, OH, 1989.Google Scholar
Freedberg, David. The Power of Images: Studies in the History and Theory of Response. Chicago, 1989.Google Scholar
Freedberg, S.J. Painting in Italy, 1500 to 1600. Harmondsworth, 1975.Google Scholar
Frimmel, T., ed. Marcantonio Michiel's Notizia d'Opere del Disegno. Qiicllenschrifteii fiir Kunstgeschichte. Berlin, 1888.Google Scholar
Galichon, Émile. “Giulio Campagnola, Peintre-Graveur du XVIe siècle.” Gazette des Beaux-Arts 13 (1862): 332-46.Google Scholar
Gandolfo, F. “II Dolce Tempo.” Mistica, Ermetismo e Sogno nel Citiqiiecento. Rome, 1978.Google Scholar
Gibbons, Felton. Dosso and Battista Dossi, Court Painters at Ferrara. Princeton, NJ, 1968.Google Scholar
Gilbert, Felix. “Venice in the Crisis of Cambrai.” In Renaissance Venice, ed. Hale, J. R., 274-92. London, 1973.Google Scholar
Ginzburg, Carlo. “Tiziano, Ovidioei codici delta figurazione erotica nel ‘500.” In Tiziano e Venezia, Convegno Iniernazionalcdi Sttidi, 125-35. Vicenza, 1980.Google Scholar
Goffen, Rona. “Renaissance Dreams.” Renaissance Quarterly 40 (1987): 682–706.Google Scholar
Goldner, George. “A Source for Titian's Nymph and Shepherd.” Burlington Magazine 116(1974): 392-95.Google Scholar
Hartlaub, G. “Giorgione im graphischen Nachbild.” Pantheon 18 (1960): 76–84.Google Scholar
Heninger, S. K. “The Renaissance Perversion of Pastoral. “ Journal oj the History oj Ideas 20 (1961): 254-61.Google Scholar
Herlihy, David. “Populazione e strutture sociali dal XV al XVI secolo.” In Tiziano e Venezia, Convegno internaziouale di stndi, 71–74. Vicenza, 1980.Google Scholar
Hind, A. M. Early Italian Engraving. London, 1948.Google Scholar
Holberton, Paul. “Of Antique and Other Figures: Metaphors in Early Renaissance Art.” Word and Image 1 (1985): 31–58.Google Scholar
Holländer, H. Hicronynms, Bosch. Weltbilder mid Trattmwerk. Cologne. 1973.Google Scholar
Hope, Charles. “Problems of Interpretation in Titian's Erotic Paintings.” In Tiziano e Venezia, Convegno internazionale di studi, 111-24. Vicenza, 1980.Google Scholar
Hope, Charles. and Jane, Martineau, eds. The Genius of Venice, 1500-1600. Exh. cat., Royal Academy of Art. London. 1983.Google Scholar
Hornig, Christian. Giorgiones Spätiverk. Munich, 1987.Google Scholar
Kaplan, Paul. “The Storm of War: The Paduan Key to Giorgione's Tempesta.” Art History 9 (1986): 405-27.Google Scholar
Katalog der ansgestellten Gemälde des 13.-18. Jahrhnnderts. Gemaldegalerie. Staatliche Museen Preussischer Kulturbesitz. Berlin, 1975.Google Scholar
Kemp, Martin. “From ‘Mimesis’ to ‘Fantasia.’ “ Viator 8 (1977): 347-98.Google Scholar
Kliemann, Julian. “Vertumnus und Pomona: Zum Programm von Pontormo's Fresko in Poggio a Caiano.” Mitteilitngen des Knnsthistorischen Institutes in Florcnz 16 (1972): 300-01.Google Scholar
Kohl, Benjamin, and Ronald, Witt. The Earthly Republic: Italian, Humanists on Government and Society. Philadelphia. 1978.Google Scholar
Kristeller, Paul. Giulio Campagnola. Berlin. 1907.Google Scholar
Krumrine, Mary. “Alcuncosservazioni sulle radiografie del Concerto Campestre. ” Antichità viva 20/3 (1981): 5–9.Google Scholar
Lisner, Margit. “Form und Smngehalt von Michelangelos Kentaurenschlacht mit Notizien zu Bertoldo di Giovanni.” Mitteilitngen des Kiinsthislorischen Institutes in Florenz 24 (1980): 299–344.Google Scholar
Maisak, Petra. Arkadicn, Genese und Typologie einer idyllischen Wunsclnvclt. Bern, 1981.Google Scholar
Mayor, A. H. “Giulio Campagnola.” Bulletin of the Metropolitan Museum of Art 32 (1937): 192-90.Google Scholar
Meier, Henry. “Giulio Campagnola's ‘Woman Reclining in a Landscape’ and Its Technique.” Bulletin of the New York Public Library 46 (1942): 735-38.Google Scholar
Meiss, Millard. The Painter's Choice. New York, 1976.Google Scholar
Miles, Margaret. “The Virgin's One Bare Breast: Female Nudity and Religious Meaning in Tuscan Early Renaissance Culture.” In The Female Body in Western Culture: Contemporary Perspectives, ed. Susan, Suleiman, 193–208. Cambridge, MA, 1986.Google Scholar
Myerowitz, Molly. Ovid's Games of Love. Detroit, 1985.Google Scholar
Oberhuber, Konrad. “Giorgione and the Graphic Arts of His Time.” In Giorgione: Atti del convegno internazionale di studio per il 5° centenario delta nascita, 313 - 20 . Castelfranco Veneto, 1979.Google Scholar
Oberhuber, Konrad., and Marzia, Faietti. See Faietti.Google Scholar
Olivieri, Achille. “Eroticism and Social Groups in Sixteenth-Century Venice: The Courtesan.” In Western Sexuality: Practice and Precept in Past and Present Times, ed. Philippe, Aries and Andre, Bejin, tr., Forster, A., 95–102. Oxford, Eng., 1985.Google Scholar
Palmieri, Matteo. Libre delta vita civile. Florence, 1529.Google Scholar
Petrarch, Francesco. Lisonetti. Ed. Francesco, Filelfo. Venice, 1519.Google Scholar
Petrucci, A. “Disegni estampe di Marcanto nio.” Bolletino d'arle, 3d ser., 30 (1937): 392–406.Google Scholar
Pignatti, Teresio. Giorgione, . London. 1971.Google Scholar
Priuli, Girolamo. l Diarii [1499-1512]. In Rertim Italicarnm Scriptores , 24, pt. 3, 4. ed. Roberto, Cessi. Bologna. 1912-28.Google Scholar
Quint, David. Origin and Originality in Renaissance Literature: Versions of the Source. New Haven, 1983.Google Scholar
Richter, Georg. Giorgio da Castelfranco. Chicago, 1937.Google Scholar
Richter, Jean Paul, ed.. The Notebooks of Leonardo da Vinci, New York, 1970.Google Scholar
Rosand, David. “Giorgione. Venice, and the Pastoral Vision.” In Places of Delight: The Pastoral Landscape. Exh. cat.. The Phillips Collection, 20-81. Washington, D.C. 1988.Google Scholar
Roskill, Mark. The Interpretation of Pictures. Amherst, 1989.Google Scholar
Ruggiero, Guido. The Boundaries of Eros: Sex, Crime and Sexuality in Renaissance Venice. Oxford, Eng. 1985.Google Scholar
Russell, H. Diane. Eva/Ave: Woman in Renaissance and Baroque Prints. Exh. cat.. National Gallery of Art. Washington, D.C., 1990.Google Scholar
Safarik, E. “Giulio Campagnola.” In Dizi onario bibliografico degli italiani, 17:317-18. Rome. 1974.Google Scholar
Sannazaro, Jacopo. Opere. E. Carrara, ed. Turin, 1952.Google Scholar
Sargeaunt, G. M. Classical Studies. London, 1929.Google Scholar
Saxl, Fritz. Lectures. London, 1957.Google Scholar
Schlosser, Julius. La lettcratnra artistica. F. Rossi, , tr. Florence. 1977.Google Scholar
Schmidt, E. “Arkadien: Abendland und Antike.” Antike mid Abendland 21 (1975): 36–57.Google Scholar
Shoemaker, Innis. The Engravings of Marcantoiiio Raimondi. Exh. cat., Spencer Museum of Art. Lawrence, KS, 1981.Google Scholar
Slatkes, L. “Hieronymous Bosch and Italy.” Art Bulletin 57 (1975): 335-45.Google Scholar
Snell, Bruno. “Arcadia: The Discovery of a Spiritual Landscape.” In The Discovery of the Mind, The Greek Origins of European Thought, tr. Rosenmeyer, T. G., 281–309. New York, 1960.Google Scholar
Tervarent, Georges de. “Instances of Flemish Influence in Italian AA.” Burlington Magazine 85 (1944): 190-94.Google Scholar
Tomeo Leonicus, Niccolò. Opnscnla. Venice, 1525.Google Scholar
Wesselski, Albert. Angelo Polizianos Tagebuch. Jena, 1929.Google Scholar
Wickhotf, F. “Giorgiones Bilder zu römischen Heldengedichten.” Jahrbuch der königlich pretissischen Kmistsammhingen 16 (1895): 34–43.Google Scholar
Winkler, John J. Thè Constraints of Desire: The Anthropology of Sex and Gender in Ancient Greece, New York and London, 1990.Google Scholar
Woolf, Stuart J. “Veniceand theTerrafirma: Problems of the Change from Commercial to Landed Activities.” In Crisis and Change in the Venetian Economy in the Sixteenth and Seventeenth Centuries, ed. Brian, Pullan, 175–203. London, 1968.Google Scholar
Zucker, Mark. The Illustrated Bartsch, Commentary, 35. New York, 1984.Google Scholar