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Source Description
The Venetian artist Giulio Campagnola introduced the "dot manner," an engraving technique by which shading is created with dots and flicks produced with the point of the burin. This innovation allowed for a much greater range of tone and subtler gradations from dark to light. The effect imitated <em>sfumato, </em>a painting technique for creating soft atmospheric effects practiced by Venetian artists, such as Giorgione, at the time. The influence of and perhaps even the engraver’s collaboration with Giorgione is reflected in the extraordinary beauty and refinement of this rare early impression of <em>Venus Reclining in a Landscape</em>. The female nude reclining in a landscape was to become a distinctly Venetian subject in the 1500s.
Scholar Source Context
Document identity
localId
112586
label
Venus Reclining in a Landscape
core
obj
dtoType
print
pageCount
1
Source metadata
id
112586
contentType
print
title
Venus Reclining in a Landscape
description
The Venetian artist Giulio Campagnola introduced the "dot manner," an engraving technique by which shading is created with dots and flicks produced with the point of the burin. This innovation allowed for a much greater range of tone and subtler gradations from dark to light. The effect imitated <em>sfumato, </em>a painting technique for creating soft atmospheric effects practiced by Venetian artists, such as Giorgione, at the time. The influence of and perhaps even the engraver’s collaboration with Giorgione is reflected in the extraordinary beauty and refinement of this rare early impression of <em>Venus Reclining in a Landscape</em>. The female nude reclining in a landscape was to become a distinctly Venetian subject in the 1500s.
date
c. 1508–9
rights
CC0
rightsUri
CC0
language
en
wikidata
Q60759300
creators
24423
genreSpecific
Print
imageCount
1
source
import
dimensionsRaw
Platemark: 11.9 x 18.3 cm (4 11/16 x 7 3/16 in.); Sheet: 11.9 x 18.3 cm (4 11/16 x 7 3/16 in.)
cul
Italy, late 15th-early 16th Century
accession
1931.205
Source extras
tec
engraving
tombstone
Venus Reclining in a Landscape, c. 1508–9. Giulio Campagnola (Italian, 1482–1515). Engraving; platemark: 11.9 x 18.3 cm (4 11/16 x 7 3/16 in.); sheet: 11.9 x 18.3 cm (4 11/16 x 7 3/16 in.). The Cleveland Museum of Art, Gift of The Print Club of Cleveland, 1931.205
collection
PR - Engraving
inscriptions
inscription
Watermark: two crossed arrows (similar to Briquet 6270)
didYouKnow
This artist's training as a gem cutter prepared him well for the relatively new art of engraving, which required carving into a copperplate with a sharp instrument called a burin.
citations
citation
"An Engraving by Giulio Campagnola." <em>The Bulletin of the Cleveland Museum of Art </em>18, no. 9 (November 1931): 171-174
page_number
Reproduced: p. 170; Mentioned: p. 171
url
jstor.org/stable/25137420
citation
Prasse, Leona. "An Engraving of 'St. John the Baptist' by Giulio Campagnola." <em>The Bulletin of the Cleveland Museum of Art </em>22, no. 2 (February 1935): 15-18
page_number
Mentioned: p. 15-16
citation
Meier, Henry, "Giulio Campagnola's 'Woman Reclining in a Landsacpe," and its Technique, Bulletin of the New York Public Library Vol. 46, No. 8 (August, 1942): 735-738.
page_number
p. 735
citation
The Cleveland Museum of Art. <em>The Cleveland Museum of Art Handbook.</em> Cleveland, OH: The Cleveland Museum of Art, 1958.
page_number
Mentioned and Reproduced: cat. no. 622
citation
The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1966</em>. Cleveland, OH: The Cleveland Museum of Art, 1966.
page_number
Reproduced: p. 93
citation
The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1969</em>. Cleveland, OH: The Cleveland Museum of Art, 1969.
page_number
Reproduced: p. 93
citation
Levenson, Jay A., Konrad Oberhuber, and Jacquelyn L. Sheehan. Early Italian Engravings from the National Gallery of Art. 1973.
page_number
pp. 398-399, fig. 19-10
citation
Meiss, Millard. The Painter's Choice: Problems in the Interpretation of Renaissance Art. New York: Harper & Row, 1976.
page_number
pp. 217, 233n30, fig. 225
citation
The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1978</em>. Cleveland, OH: The Cleveland Museum of Art, 1978.
page_number
Reproduced: p. 105
citation
Cafritz, Robert, Lawrence Gowing, and David Rosand. Places of Delight: The Pastoral Landscape. Washington, D.C.: Phillips Collection in association with the National Gallery of Art, 1988.
page_number
p. 74, fig. 76 (no. 26)
citation
Russell, H. Diane, and Bernadine Ann Barnes. Eva/Ave: Woman in Renaissance and Baroque Prints. Washington: National Gallery of Art, 1990.
page_number
p. 139, fig. 80b
citation
Lo Monaco, Louis. La gravure en taille-douce: art, histoire, technique. Paris: Arts et métiers graphiques/Flammarion, 1992.
page_number
p. 31
citation
Landau, David, and Peter W. Parshall. The Renaissance Print, 1470-1550. New Haven: Yale University Press, 1994.
page_number
p. 263, fig. 268.
citation
Hults, Linda C. The Print in the Western World: An Introductory History. Madison, Wis: University of Wisconsin Press, 1996.
page_number
p. 175, fig. 3.40
citation
Rosand, David. Drawing Acts: Studies in Graphic Expression and Representation. Cambridge, UK: Cambridge University Press, 2002.
page_number
pp. 205-206, fig. 188
citation
Ballarin, Alessandro. <em>Giorgione e l'umanesimo veneziano</em>. Verona : Edizioni dell’Aurora, 2016.
page_number
Reproduced and mentioned: pp. I: 214, 379; v: xxx, xxxii; tavv. v. (xii) 57, 63, 67, 78 I
citation
Kren, Thomas, Jill Burke, and Stephen J. Campbell. <em>The Renaissance Nude.</em> Los Angeles : J. Paul Getty Museum, 2018.
page_number
Mentioned and reproduced: p. 168-169, cat. 49
catalogueRaisonne
Hind V(II).202.13 ; Passavant V.165.11 ; Le Blanc I.575.10 ; Ottley II.769.8
creditline
Gift of The Print Club of Cleveland
updatedAt
2026-06-10 17:57:35.814000
sourceId
112586
dept
Prints
coll
PR - Engraving
med
engraving
creatorTags
male
thumbnail_url
image_url
Single page context
seq
1
pageIndex
0
type
photo
mediaId
21590605df28f2c8