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Giovanni Battista PiranesiXXXIII Fig. I Avanzo del Tempio di Castore e Polluce 1756
1756
About the Item
XXXIII Fig. I Avanzo del Tempio di Castore e Polluce .View of the Remains of the Peristyle of the House of Nero,
Etching, 1756
Signed in the plate (see photo)
From: Le Antichità Romane (Roman Antiquity), 1756-1757, Four Volumes
From the first edition, printed in Roma, 1758
Publisher: Angelo Rotili
Watermark: Double Circle Fleur de Lys
Inscription: At upper left: Fig. XXXVI
At bottom center: Veduta dell' Avanzo del Peristilo della Casa Neroniana
At lower right: Piranesi Archit. dis. inc.
Condition: Excellent
Plate/Image size: 5 1/8 x 7 5/8 inches
Sheet size: 8 3/4 x 11 5/8 inches
Reference: Focillon 20.A.213
Wilton_Ely 392.348
Provenance: Dale Zimmerman (1928=2021), noted artist and collector
“Piranesi spent his first few years in Rome measuring and sketching ancient architectural sites. The results of Piranesi’s comprehensive research were presented in the four volumes of the Antichità Romane (1756). This production rapidly earned Piranesi an international reputation, as evidenced by his election to the Honorary Fellowship of the Society of Antiquaries of London a year later. Antichità Romane itself set out to provide a sweeping overview of the archaeological information on Ancient Rome Piranesi gathered over the years. Its purpose was the education of contemporary designers and their patrons. The more than 250 images feature original methods of illustration, combining an impressive amount of data and skilled etchings into a single plate. As depicted in the views of the burial chamber and tomb, Piranesi balances the picturesque appearance of Roman architecture with detailed explanatory text in one plate. Piranesi’s expansive topographical knowledge of Rome allowed him to place the many diverse and isolated ancient remains into the broader context of Rome’s new urban development. 21 The Antichità Romane represented a milestone in the history of classical archaeology, a newly established area of study for historians. Classical archaeology became popular, or valued, after the discovery of Pompeii and Herculaneum, sites that piqued the interest of many intellectuals and aristocrats. Besides representing a massive advance in the how archaeological discoveries were communicated to the broader public, the Antichità Romane focused attention in a visually stunning way to neglected aspects of antiquity, such as the techniques of Roman building science and non-traditional Roman decoration. The Antichità Romane was set apart from the work of Piranesi’s peers due to the greater spectrum of buildings he included in the work and by the way he placed them within landscape settings, often with the addition of figures. The figures within Piranesi’s etchings often hint towards the sublime, an art style defined by the seemingly overwhelming terror of nature looming over mankind. In the early 18th century, nature was determined to be a devastating force that needed to be controlled; control over nature represented the control one had over man. The sublime was introduced as philosophers and intellectuals from France and Britain came to see that the overwhelming powers of nature were, in a way, beautiful, because of the pure terror and emotion it incited in viewers. Piranesi’s miniscule figures and grand, vast structures represent the relationship people of the 18th century believed they had with nature and ancient ruins. The Antichità Romane, and his sublime images of ruins, allowed Piranesi to make a name for himself as an antiquarian.” Courtesy: Wellesley Davis Museum of Art
- Creator:Giovanni Battista Piranesi (1720-1778, Italian)
- Creation Year:1756
- Dimensions:Height: 5.13 in (13.04 cm)Width: 7.63 in (19.39 cm)
- Medium:
- Movement & Style:
- Period:1750-1759
- Condition:
- Gallery Location:Fairlawn, OH
- Reference Number:
Giovanni Battista Piranesi
Piranesi was born in Venice in 1720 and died in Rome in 1778. He was the son of a stone mason and was trained as an architect. After a slow start he eventually achieved great success as an architect, archaeologist, artist, designer, collector, and antiquities dealer. His mission was to glorify the architecture of ancient Rome through his engravings and etchings. His highly dramatized prints often depict imaginary interiors and frequently include figures in mysterious activities, who are dwarfed by the magnitude of their monumental surroundings. Piranesi's style greatly influenced the neoclassical art movement of the late 18th century. His dramatic scenes inspired generations of set designers, as well as artists, architects and writers. His prints have continued to increase in value to institutions and collectors.
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