![]() These theatrical images were to generate a highly charged emotional perception of the Eternal City and its environs that has lasted to the present day. Around 1748 he began to issue his magisterial views of Rome, Vedute di Roma (135 plates), which he published individually, or in groups, throughout the rest of his career. As a graphic artist of genius he was to transform the mundane topographical view into a highly sophisticated means of architectural communication -based on a strongly practical understanding of ancient technology -as well as a vehicle of powerful emotional expression. Moving in 1740 to Rome, where he spent the larger part of his life, a lack of practical commissions led him to develop skills in etching souvenir views, or vedute, for the grand tour market. The son of a stonemason and master builder, he spent his first twenty years in Venice training in architecture and stage design, and was strongly influenced by the local tradition of topographical art represented by Canaletto and the etched fantasies of Marco Ricci (1676 –1729) and Giovanni Battista Tiepolo (1696 –1770). By means of over a thousand etched plates and his theoretical defense of creative fantasy, Piranesi revolutionized the European perception of Roman antiquity and exerted a major influence on many of the leading architects and designers of European neoclassicism. Fountain in foreground.', 1748įrontispiece, with statue of Minerva.PIRANESI, GIOVANNI BATTISTA (1720 –1778), Venetian architect, engraver, and archaeologist. 'St Peter's, with forecourt and colonnades. 'St Peter's, interior with the nave.', 1748 'St Peter's, from the Piazza della Sagrestia.', 1748 Giovanni in Laterano, main façade, with palace and Scala Santa on the right.', 1749 Maria Maggiore with the column from the Basilica of Constantine in the foreground.', 1749 Maria Maggiore with the obelisk in the Piazza dell'Esquilino.', 1749 'The Piazza del Quirinale, with the statues of the horse tamers in side view.', 1750 'The Piazza della Rotonda, with the Pantheon and Obelisk.', 1751 Maria di Loreto and Santissimo Nome di Maria.', 1762 'The Palazzo dell'Academia di Francia (The Palazzo Salviati).', 1752 'The harbour and quay, called the Ripa Grande.', 1753 'The smaller harbour, called the Porto di Ripetta.', 1753 'The Ponte Lucano, with the tomb of the Plautii.', 1763 'The tomb of the Plautii, near the Ponte Lucano.', 1761 'The Hadrianeum (once used as a custom house) in the Piazza di Pietra.', 1753 Teodoro in middle distance, and Monte Aventino in the distance.', 1757 'A corner of the Forum Romanum, with the temple of Castor and Pollux, and S. 'The Forum of Augustus (erroneously called Forum of Nerva).', 1757 Giovanni e Paolo (formerly called the Curia Hostilia).', 1757 'Substructure of the Temple of Claudius at the Church of SS. 'The so-called Temple of Fortuna Virilis (now Church of S. 'The so-called Temple of Bacchus, now the Church of S. 'The Temple of Portunus (?) (the round temple near S. 'The Temple of Antoninus and Faustina.', 1757 ![]() 'The Temple of Venus and Roma (erroneously called Temple of Sol and Luna).', 1757 'The Egyptian Obelisk in the Piazza di S. 'The Arch of Septimius Severus, with the Church of S. 'The Arch of Constantine and the Colosseum.', 1757 'The so-called Temple of Salus, on the road to Albano.', 1757 ''The Portico of Octavia: The Entrance Porch, exterior.', 1757 'The Portico of Octavia: the entrance porch, interior.', 1757 'The Baths of Caracalla, interior of the central hall.', 1757 'The Pantheon, interior of the portico.', 1757 'The Temple of the Sibyl, Tivoli, with another temple right, once used as Church of S. 'The so-called Temple of Minerva Medica.', 1757 'Entrance door to part of the villa called the 'Sette Bassi' on the road to Frascati.', 1757 The Arch with a Shell Ornament, early 1770s Prisoners on a Projecting Platform, early 1770s Vue des restes interieurs du Temple de Neptune, Vue de ce qui reste encore des Murs A de l'ancienne Ville de Pesto, 'Vue A de quelques unes des Colonnes de la façade.', 'Vue des restes d'une grande enceinte de colonnes.' 'Vüe interieure du Collége supposé des Anfictions', 'Autre Vüe interieure des restes du Collége supposé des Anfictions, ''Vüe des restes interieures d'un des Pronaos du Temple de Neptune', ''Vüe des restes du derriere du Pronaos du Temple de Neptune', ''Vüe des restes de la Celle du temple de Neptune.', 'Vüe d'un autre temple, dans la Ville de Pesto.', 'Vüe intérieure du Temple, que l'on croit avoir été dédié à Junon', Works by Giovanni Battista Piranesi in the RA Collection 186 results
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