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Asleep in the Grass of Arcady

Giulio Campagnola's Dreamer

Bibliographic Data

ID10415010
AuthorsPatricia Emison (0000-0002-3203-0402, University of New Hampshire at Manchester, corresponding author)
Year1992
Volume45
Issue2
Pages271-292
Publication date1992-07-01
Peer ReviewedYes
Open AccessYes
TypeARTICLE
VenueRenaissance Quarterly (JOURNAL)
Journal identifiersISSN: 0034-4338 • E-ISSN: 1935-0236
PublisherUniversity of Chicago Press (PUBLISHER • US)
DOI10.2307/2862749
OpenAlexW2013772328
LanguageEN
References cited19

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

Art · Art history · Flesh · Literature · Narrative · Chemistry · Historical Art and Culture Studies · Photography and Visual Culture · Visual Culture and Art Theory

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Citation velocityhistorical
Highly citedNo

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