The display also considers fascinating questions about his practice raised by new research: the relationship between drawings and prints, his evolving style as a draughtsman and the involvement of studio hands in his later works.Įxplore the formidable quality of his pen and chalk studies and track his evolution as an artist at this stunning new display. Throughout his career, Giovanni Battista Piranesi (17201778) produced carefully prepared views in and around Rome. He initially apprenticed to his mother’s brother, an established architect and hydraulic engineer but disagreements led him to leave and work for stage designers Ferdinando Bibiena and the Valeriani brothers. His work as a draughtsman, however, is much less explored – yet his drawing underpinned and nourished his flair with the etching needle. Giovanni Battista Piranesi: Architectural Fantasy with a Colossal Faade, circa 17431745 an exhibition at the Morgan Library and Museum, New York City, March 10JCatalog of the exhibition by John Marciari Morgan Library and Museum/ Paul Holberton, 224 pp., 60. Giovanni Battista Piranesi was born at Mogliano just north of Venice (1720) the son of an Istrian master builder. His work as a printmaker, whether exploring Roman architecture or displaying flights of spatial fancy in the celebrated Carceri (' Prisons') series, has been the subject of numerous exhibitions. Piranesi, Giambattista Piranesi Date of birth 1720 Date of death 1778 The Italian artist Giovanni Battista Piranesi is best known for his numerous etchings depicting the monuments of ancient and modern Rome. His work is infinitely engrossing, & what youve seen here barely scratches the surface. The historical Piranesi, an 18th-century engraver, is celebrated for his intricate and oppressive visions of imaginary prisons and for his veduta ideate, precise renderings of classical edifices. Giovanni Battista Piranesi Italian, 17201778 Follow 695 Followers Active Secondary Market Critically Acclaimed Bio Printmaker, engraver, and antiquarian Giovanni Battista Piranesi once said: I need to produce great ideas, and I believe that if I were commissioned to design a new universe, I would be mad enough to undertake it. Plates 545 x 410 mm.Celebrating the 300th anniversary of Piranesi's birth in 1720, this display presented the Museum's complete collection of his drawings – unique in being entirely by the master himself.įrom his grand depictions of ancient Rome, to his recordings of the newly-discovered ruins of Pompeii, Piranesi's fantastical drawings are compelling.īorn in Venice and raised in Rome, Piranesi is best known for highly-charged, atmospheric representations of antiquity in his etchings. RT culturaltutor: Giovanni Battista Piranesi was many things: an artist, an archaeologist, an architect, a decorator, and a scholar who ran his own publishing house there was nobody else like him. 35) second state (as usual for this issue), published by Giovanni Bouchard, Rome, 1750-58 with Raccolta di varie vedute di Roma, including the title page and 94 etchings, including 48 by Piranesi, the others by Anesi, LeGeay, Duflos and Bellicard, Second Edition, published by Bouchard, Rome, 1752 Trofei di Ottaviano Augusto, with the title page and nine plates, First Edition, published by Bouchard, Rome, 1753 and two plates from Vedute di Roma ( Veduta del Tempio di Cibele & Veduta del Tempio di Giove tonante), 17, both first state (of five and six, respectively), before Bouchard's address and price all with margins, in very good condition, the double-page plates bound with wide paper guards in an 18th century Italian vellum binding, with contemporary end-papers, the binding lacking the spine and with some wear (book) 1750s, etching and engraving (Davidson Galleries) Giovanni Battista Piranesi, Veduta di un Sepolcro creduto deScipioni fuori di Porta S. In his Views of Rome (Vedute di Roma), a series of copperplate engravings, the artist, architect, author, and antiquarian Giovanni Battista Piranesi (1720 1778) portrayed the monuments of the Eternal City and its environs not just with precision and splendor, but as part of a living landscape. The complete set of 14 etchings, circa 1749-50, on laid paper, watermark Fleur-de-Lys in Single Circle (Robison 5), a very fine, early set of the First Edition, Second Issue, printed with a light, selectively wiped plate tone, all but two plates in the first state, the Title Plate (R. This 1784 architectural phantasm pictures the road leading to Rome lined by sepulchral monuments piled one atop the other, reaching skyward. Giovanni Battista Piranesi, Veduta interna della Stanza contigua alla Camera sepolcrale de Liberti e Servi, ec della Famiglia Augusto, ca.
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