In the essay “Naturalism and Venetian “Poetry”: Graft, Metaphor, and Embodiment in Giorgione, Titian, and the Campagnolas,” Campbell explains the role of poetic painting, poetry, in Venetian art during the 1500s. Titian personally used the term poesia when "[referring] to the paintings he made for [King Philip II] with subjects derived from ancient poets." Poetry now refers to a type of Venetian painting from the 16th century, initiated and used by Giorgione and Titian in their works. Campbell's main argument is that poetry is not simply aesthetic or reflective of poetry, but rather "based on the process of creation – and on the creation of meaning – rather than on an aesthetic of self-sufficiency or 'self-referentiality'. Like poetry, it is not autonomous; the meaning is found outside the work, in the interpretations of the spectators. He discusses the idea of ​​grafting in poetry and how the same model of grafting is used in the visual arts. Different images, such as pagan figures and contemporary figures and settings, are juxtaposed to create visual discordance and provide intrinsic meaning to the viewer. Campbell then uses numerous examples of writing, poetry, prints, and paintings to explore his argument and the connections between artists during the 1500s. Campbell examines thirteen Venetian prints and paintings, as well as an example of ancient poetry , to illustrate the effect of grafting different image sources within a single image, as well as poetic images and forms used with poesia. Many examples of art examined by Campbell focus on the nature of the works, such as the juxtaposition of "pagan opposites" in Christian subjects, the idea of ​​the gaze, juxtaposing two pictorials...... middle of paper. ... Dürer's landscapes seen in Saturn by Giulio Campagnola. Campbell's analysis of poetry is a strong illustration of the examination of works in the field of art history. Art historians obviously study the physical marks and meanings of a work, but must also critically analyze the influences and historical context of the time to better understand the artist and his intentions. As a good art historian, Campbell took apart the elements of different images and related them to extrinsic factors, such as contemporary events and works, to create a broader picture. Works Cited Campbell, Stephen J., “Naturalism and the Venetian Poesia: Grafting, Metaphor and Incarnation in Giorgione, Titian and the Campagnolas.” In Subject as Aporia in Italian Renaissance Art eds. Lorenzo Pericolo and Alexandre Nagel. Brookfield, VT, AshgatePress, 2009.