Benedetto Montagna

[7] The painter Giovanni Speranza, briefly mentioned by Vasari, was a collaborator, who was perhaps some years older.

In 2004 there was an exhibition on the work of the two Montagnas, father and son, held in Palladio's Villa Caldogno near Vicenza.

Like Giulio Campagnola, the obtrusive signatures reveal "a remarkable willingness to intrude upon an image for the sake of self-promotion".

Like other Italian printmakers in this period, his technique and especially his landscape backgrounds are heavily influenced by Albrecht Dürer.

[12] His prints include seven, from about 1515–20, that are close reworkings of some of the woodcut illustrations in an edition of Ovid's Metamorphoses in Italian published in Venice in 1497.

Examples of common northern subjects that were very rare in Italian printmaking of the period are an engraving of a soldier,[15] and one of peasants fighting.