The Deposition from the Cross
This intense scene of grief portrays the body of the dead Christ (just taken down from the Cross) dramatically foreshortened in the foreground and a group of mourners gathering around to prepare his body for burial. At upper left, the distorted corpse of one of the thieves who was crucified with Christ is seen actually being detached from his cross, and the action vividly conveys to the viewer the brutality of such an execution. Domenico Campagnola was the adopted son of the Venetian painter and printmaker Giulio Campagnola (ca. 1482-after 1515) and the drawing's highly expressive, graphic manner of parallel hatching and cross-hatching of shadows with the pen also seems typical of Campagnola's masterful prints.
First published by Hans Tietze in 1949 (see here 'References' for full bibliography), this study for a 'Deposition' is an outstanding example of the draftsmanship of Domenico , who was one of the leading graphic artists in Titian's circle. Although he was also a painter, Campagnola was much more accomplished as a printmaker and draftsman, especially during the 1520s, when the examples of Giorgione, Titian, and Domenico's mentor Giulio Campagnola were fresh in his mind. In this sheet, the artist constructed an elaborate and dynamic composition in a manner that recalls contemporary prints by Baldung in its asymmetry, expressionistic gestures and facial characterizations, and lack of concern for accurate spatial perspective. It is among the boldest and most ambitious compositions that Campagnola attempted and-although the handwriting is Titianesque-it displays a welcome individualism of form and expression rarely found in his work. In its lively pen strokes and dramatic composition it is among the most impressive drawings by the artist.
First published by Hans Tietze in 1949 (see here 'References' for full bibliography), this study for a 'Deposition' is an outstanding example of the draftsmanship of Domenico , who was one of the leading graphic artists in Titian's circle. Although he was also a painter, Campagnola was much more accomplished as a printmaker and draftsman, especially during the 1520s, when the examples of Giorgione, Titian, and Domenico's mentor Giulio Campagnola were fresh in his mind. In this sheet, the artist constructed an elaborate and dynamic composition in a manner that recalls contemporary prints by Baldung in its asymmetry, expressionistic gestures and facial characterizations, and lack of concern for accurate spatial perspective. It is among the boldest and most ambitious compositions that Campagnola attempted and-although the handwriting is Titianesque-it displays a welcome individualism of form and expression rarely found in his work. In its lively pen strokes and dramatic composition it is among the most impressive drawings by the artist.
Artwork Details
- Title: The Deposition from the Cross
- Artist: Domenico Campagnola (Italian, Venice (?) 1500–1564 Padua)
- Date: 1537–1550
- Medium: Pen and brown ink
- Dimensions: 14 3/4 x 9 5/16 in. (37.4 x 23.7 cm)
- Classification: Drawings
- Credit Line: Purchase, David T. Schiff Gift and Harry G. Sperling Fund, 2001
- Object Number: 2001.89
- Curatorial Department: Drawings and Prints
More Artwork
A slider containing 5 items.
Press the down key to skip to the last item.
Press the down key to skip to the last item.
Domenico Campagnola
1517
Domenico Campagnola
Luca Bertelli
ca. 1564–89
Domenico Campagnola
1517
Domenico Campagnola
Titian (Tiziano Vecellio)
1518
Domenico Campagnola
1517
Research Resources
The Met provides unparalleled resources for research and welcomes an international community of students and scholars. The Met's Open Access API is where creators and researchers can connect to the The Met collection. Open Access data and public domain images are available for unrestricted commercial and noncommercial use without permission or fee.
To request images under copyright and other restrictions, please use this Image Request form.
Feedback
We continue to research and examine historical and cultural context for objects in The Met collection. If you have comments or questions about this object record, please complete and submit this form. The Museum looks forward to receiving your comments.