1/19/2024 0 Comments Giambattista piranesi campidoglioStarted by Jean Bouchard, then joined by Jean Gravier - possibly from a family of booksellers in Briançon. The two works, enclosed in the same finely bound volume with red morocco binding, are both printed by the Roman printing house of Bouchard & Gravier, a publishing house and bookshop based in Via del Corso in Rome, near the church of San Marcello. RARE COLLECTION of the most classic fantastic views of Piranesi, based on and including some plates of the Prima parte di Architetture, that is his first and sought after graphic work, combined with the important work on ancient Rome by Jean Barbault. Ģnd (52 cm), full red morocco binding, triple gilt border to plates, 7-nerve spine with repeated floral decoration on the spine, title and cuts in pure gold, marbled paper backstrip. Joined with Jean Barbault, Les plus beaux monuments de Rome ancienne ou recueil des plus beaux morceaux de l'antiquité romaine qui existent encore: dessinés par monsieur Barbault peintre ancien pensionnaire du Roy a Rome, et gravés en 128 planches avec leur explication. Raccolte da Giovanni Bouchrad Mercante Librajo al Corso. Exploring Rome: Piranesi and his contemporaries (Cambridge, Mass: MIT Press, 1994), 26.ġ0Lucchi, Lowe, Pavanello, The arts of Piranesi, 29.Opere Varie Di Architettura Prospettive Grotteschi Antichità Sul Gusto Degli Antichi Romani Inventate, ed Incise Da Gio. "Giovanni Battista Piranesi (1720–1778)," Heilbrunn Timeline of Art History | The Metropolitan Museum of Art, accessed May 07, 2017.ĨCara Dufour Denison, Myra Nan Rosenfeld, and Stephanie Wiles. "Piranesi." The Metropolitan Museum of Art Bulletin 33, no. 10ġ Jonathan Scott, Piranesi (London: Academy Editions, 1975), 7.ĢMichele Di Lucchi, Adam Lowe, and Giuseppe Pavanello, The arts of Piranesi: architect, etcher, antiquarian, vedutista, designer (Madrid: Factum Arte, 2012), 29.ģMayor, A. The title page of his famous Vedute di Roma is taken up by the words “Drawn and engraved by Giambattista Piranesi Venetian architect,” signifying the importance Piranesi assigned to his Venetian origins. Even though Piranesi lived in Rome for the majority of his life, and used Rome as his main source of inspiration, he stated frequently that he considered himself a subject of the Republic of Venice. 9 Piranesi died in 1778 in Rome after a long decline in health. He made a substantial fortune by selling his huge views, and some of his copper plates are still used in Rome today. 8 In the next thirty-five years, Piranesi would etch over a thousand big plates. 7 Piranesi, in collaboration with some young French artists from the Academy, began to distribute his own etchings with a series of small vedute over several decades. He put his wife’s dowry towards a supply of huge copper plates, allowing him to establish and sustain his independent career as a view-maker. 6 At thirty two, Piranesi married Angela Pasquini. 5 Soon after his arrival in Rome, Piranesi apprenticed himself briefly to the Sicilian Giuseppe Vasi (1710-1782) the most famous producer of etched views of Rome, which he supplied to Grand Tourists as a lasting souvenir. In his early years in Rome, he published almost no artwork and spent the majority of his time observing and sketching ancient ruins and styling imaginary reconstructions. During his time in Rome, he drew everything: temples, palaces, bridges, aqueducts, and all of the fragments of Rome’s past which were, at the time, only just being uncovered and restored.4 At twenty-five (1745), Piranesi received an offer of work from a publisher in Rome and returned to settle there for life. Piranesi was captivated by the antiquity of Rome from a very young age, visiting the ancient city as an inexperienced draughtsman aboard an ambassadorial train. Piranesi learned to perfect the art of stage design, discovering how to render light and shade with dramatic effect, draw architecture from unique angles, and take risks with perspective. 2 The Venice in which Piranesi grew up introduced him to the architecture of the theatrical stage through the various productions he worked on, an experience that would be influential to the style he developed. 1 Piranesi’s family expected him to be an architect, and his upbringing in the architectural world of Venice was foundational in his future achievements. His father was a stonemason and a master builder, and his mother was the elder sister of Matteo Lucchesi (1705-1776), a renowned architect and engineer who had connections in aristocratic circles. Giovanni Battista Piranesi (1720-1778) was born at Mogliano Veneto in Italy. Lodovico Ughi’s 1729 Map of Venice, 1729, engraving (World Digital Library)
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