Colnaghi Foundation Journal 03 - Page 157



154
36.
37.
38.
39.
40.
41.
42.
G I U LI O CAM PAG N OL A / Landscape, and Venetian illumination
Illuminated Venetian Documents,” Bulletin du Musée
Hongrois des Beaux Arts 95 (2001): pp. 59-78; and by
the same author, “Painters and Patrons in Venetian
Documents,” Le commissioni ducali nelle collezioni dei
Musei Civici Veneziani, special edition of Bolletino dei
Musei Civici Veneziani 8/3 (2013): pp. 25-40.
Venice, Biblioteca Correr, Ms. Classe III 203. For a
discussion of this manuscript in relation to Bordon
see Susy Marcon, “Un aldina miniata,” in Aldo
Manuzio e l’ambiente veneziano, eds. Susy Marcon and
Marino Zorzi (Venice: Libreria Sansoviniana, 1994),
pp. 125-126. For the procurators of San Marco and
the decoration of their commissions see Szépe, Venice
Illuminated, pp. 115-154; and Chambers, “Merit and
Money.”
See Hind, Early Italian Engraving, no. 14, p. 202; and
Zucker, The Illustrated Bartsch, no. 18.0144, pp. 86-87.
For Jacometto's painting see Andrea Bayer in The
Renaissance Portrait: From Donatello to Bellini, eds. Keith
Christiansen and Stefan Weppelmann, exh. cat. (New
York: The Metropolitan Museum of Art, 2011), no.
152a, pp. 346-349.
For Jacometto’s work as an illuminator see Giovanna
Mariani Canova, La miniatura veneta del Rinascimento:
1450-1500 (Venice: Alfieri, 1969), pp. 44, 111112. The continued esteem with which Venetian
collectors regarded the work of Jacometto is indicated
by the relatively high monetary value (at least 40
ducats) placed on a Book of Hours containing four
illuminations by the artist seen by Michiel in the
collection of Andrea Odoni, inherited from his uncle,
Francesco Zio, but evidently originally commissioned
by connoisseur’s kinsman, Giovanni Michiel, see
Michiel, Notizie, p. 55. Odoni also owned a book of
hours containing an illumination depicting David by
Bordon. See Rosella Lauber in Il collezionismo d’arte a
Venezia, eds. Linda Borean et al. (Venice: Fondazione
di Venzia, 2008), pp. 298-299, and 326-328.
Modena, Biblioteca Estense, Ms. Lat. 423= ma. V.G.
13, vol. II, fol. 56r, see Federica Toniolo, “La Bibbia di
Borso tra Tardogotico e Rinascimento,” in La Bibbia di
Borso d’Este, 2 vols. (Modena: Franco Cosimo Panini,
1997), II, p. 364. Another Ferrarese example occurs
in an illumination by Taddeo Crivelli in a Decameron
produced for one of Borso’s courtiers, Oxford,
Bodleian Library, Ms. Holkham misc. 49, fol. 5, see
Jonathan Alexander, The Painted Book (New Haven:
Yale University Press, 2016), pp. 80-81.
Venice, Biblioteca Marciana, Ms. Lat. X, 238, fol. 5r,
see Szépe, Venice Illuminated, pp. 98-101; and Szépe,
Painters and Patrons, pp. 27-28. This scholar notes
the apparent influence on Leonardo in this work of
Franco de Russi, who was involved in the illumination
of Borso d’Este’s famous Bible.
See Bayer in Christansen and Weppelmann, The
Renaissance Portrait, p. 346.
For a discussion of this phenomenon in Venetian
painting in the period see Mauro Lucco in Bellini,
Giorgione, Titian, and the Renaissance of Venetian Painting,
43.
44.
45.
46.
47.
48.
49.
50.
51.
52.
53.
54.
55.
56.
57.
58.
59.
eds. David Alan Brown and Sylvia Ferino Pagden,
exh. cat. (Washington, DC and Vienna: the National
Gallery of Art and the Kunsthistorisches Museum,
2006), no. 22, pp. 132-135.
For the Walpole Psalter see H. George Fletcher, The
Wormsley Library: A Personal Selection by Sir Paul Getty,
K.B.E (London: Maggs Bros. Ltd., 2nd ed. 2007), no.
22, pp. 62-67. For Giulio’s drawing (Paris, École
nationale supérieure des Beaux-Arts, inv. 34782) see
Hans Tietze and Erica Tietze-Conrat, The Drawings of
Venetian Painters in the 15th and 16th centuries (New York:
J. J. Augustin, 1944), no. 582, p. 136.
See Fletcher, The Wormsley Library, p. 65, and Kate J.
P. Lowe, Nuns Chronicles and Convent Culture in Renaissance
and Counter-Reformation Italy (Cambridge: Cambridge
University Press, 2003), pp. 90-92.
Venice, Biblioteca Marciana, Ms. It. Z. 64 (=4824).
For a recent discussion of the Second Grifo Master
see Alexander, The Painted Book, pp. 105, 144, 184,
191-192, and pp. 318-319, n. 179, for a list of works
attributed to the artist.
Marcon, “Un aldina,” p. 128.
Hind, Early Italian Engraving, no. 12, pp. 201-202; and
Zucker, The Illustrated Bartsch, no. 18.005, pp. 470-471.
Oberhuber in Oberhuber and Sheehan, Early Italian
Engraving, pp. 402-403, abandoned the traditional,
mature dating on account of the figure’s style.
See recently Hope, “Drawings, Attribution and
Evidence,” pp. 76-79.
Giulio’s figure of Saint John the Baptist seems to
copy in reverse the figure in a print by Girolamo
Moccetto who seems in other cases to have had access
to Mantegna’s designs, see Brooke, “Tratta da Zorzi,”
pp. 229-236. Giulio’s figure diverges from Moccetto’s
most significantly in the facial features.
Emma T. K. Guest, “The Second Master of the
Grifo ‘Canzoniere’: New Attributions,” The Princeton
University Library Chronicle 69 (2008): pp. 113-115.
Guest, “The Second Master,” p. 113.
London, British Library, Add. Ms. 18000, fol. 6v, see
Szépe, Venice Illuminated, pp. 15-16, 79.
See Brooke, “New Evidence.”
Windsor, Royal Library, Ms. RCIN 1081196, fol.
2r, see Szépe, Venice Illuminated, pp. 134-135; and
Chambers, “Merit and Money,” pp. 43-44. This
author makes the observation that in this commission,
as in the 1516 Giustiani Commission, Saint Mark
lacks a halo. This is also true of Antonio Grimani’s
Promissio.
See Szépe, Venice Illuminated, pp. 13-22, 249.
See Giulia Mari Zuccolo Padrono,
“Sull’ornamentazione marginale di documenti dogali
del xvi secolo,” Bolletino dei Musei Civici Veneziani 17
(1972): pp. 16-18; and Szépe, Venice Illuminated, p. 135.
Venice, Biblioteca Correr, Ms. Classe III 46, see
Zuccolo Padrono, “Sull’ornamentazione,” p. 17.
Szépe, Venice Illuminated, pp. 163-166.
The subject of the development of landscape in
Venetian painting has been much explored. See David
GI U LI O CAMPAG N OLA / Landscape, and Venetian illumination
60.
61.
62.
63.
Rosand, “Giorgione, Venice, and the Pastoral Vision,”
in Places of Delight, eds. Robert Caferitz, Lawrence
Gowing, and David Rosand, exh. cat. (Washington,
DC: The Philips Collection, 1988), pp. 20-81. For an
overview see Sarah Ferrari, ‘Una luce per la natura’: Studi
su Giorgione (Padua: Padova University Press, 2016), pp.
29-63, with further bibliography. The fundamental
influence of northern European painting and prints
on the development of landscape imagery in Venice
is beyond the scope of this essay. See Beverly L.
Brown, “From Hell to Paradise: Landscape in Early
Sixteenth-Century Venice,” in Renaissance Venice and
the North: Crosscurrents in the Time of Bellini, Dürer, and
Titian, eds. Beverly L. Brown and Bernard Aikema,
(Venice: Palazzo Grassi, 1999), pp. 424-431, and
Ernst Gombrich, “Renaissance Artistic Theory and
the Development of Landscape Painting,” in Norm
and Form (London: Phaidon, 1966), pp. 107-110.
The subject of the influence of northern art on
Giulio’s work was explored by the current author in
a conference paper: Irene Brooke, “The Evolution
of Landscape in Giulio Campagnola’s Work and
the Influence from the North,” Il paessaggio veneto nel
Rinascimento europeo. Linguaggi, rappresentazioni. 26-27
October 2017, Università degli Studi di Padova,
Padua. Conference Presentation.
See Brown, Venice and Antiquity, pp. 204-206.
Quoted in Fletcher, “Marcantonio Michiel: his
friends,” p. 465.
Simonetta Nicolini, “Come piccoli quadri. Appunti su
alcune fonti per la ricezione della miniatura tra XIV e
XVI secolo,” Intrecci d'arte 4 (2015): pp. 6-35, available
online, accessed May 2018, https://intreccidarte.
unibo.it/article/download/5599/5321.
For a recent discussion of early editions of Theocritus
in the context of Venetian painting see Sarah Ferrari,
‘Una luce per la natura’, pp. 9-28.
155

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