Giovanni Battista Piranesi

View of the Ancient Structure built by Tarquinius Superbus called the Bel Lido

1750-1778

Piazza Navona allagata solito farsi nelle Feste di Agosto Etching, 1752 Signed in the plate lower right (see photo) From: Della Magnificenze di Roma Antica e Moderna ( The Magnificen...

Galleria grande di Statue Etching, 1743 Signed lower left corner of the plate From: Prima Parte, 1743 Second edition: 1750-1778 Watermark: R 37-39 A lifetime impression printed during Piranesi’s life, before the plates are moved to Paris by his sons in the 1790’s Condition: Excellent Image size: 14 5/8 x 9 3/4 inches Reference: Robison 2 iii/V Piranesi In Rome: Prima Parte di Architetture e Prospettive "Although Piranesi studied architecture in Venice, he never was able to find work in the field other than a few jobs involving remodeling in Rome. While Piranesi was struggling to support his architectural endeavors upon his arrival in Rome in 1740, he spent a short period of time in the studio of master painter Giovanni Battista Tiepolo (1696-1770) in addition to his apprenticeship with Giuseppe Vasi. The first production of Piranesi’s early years in Rome and a culmination of his training under Vasi, Tiepolo, and his uncle, was the Prima Parte di Architetture e Prospettive (1743). The Prima Parte was a collection of twelve etchings of imaginary temples, palaces, ruins, and a prison. During this time, Piranesi was still developing the unique style of etching he is known for today, and as such the Prima Parte differs significantly in technique compared to later works. In the Frontispiece of the Prima Parte, Piranesi’s lines are definite and exact with very little flow to them, designed in the form of traditional etching. The detail is immaculate, and yet perspective of the piece is oddly simple and familiar to the viewer. Piranesi’s technique employs miniscule markings and lines, intricately woven together to create a stippling effect. The Prima Parte, described as “rigid” by art historian Jonathan Scott, came to be seen as a stark contrast to his later sketches, which were much lighter and freer. Influenced by the style of Tiepolo, which epitomized the lightness and brightness of the Rococo period, Piranesi adopted some of the more painterly techniques of the masters he apprenticed under. Piranesi made the medium of etching appear as though it was a sketch or a painting, hence a “freer” and more fluid design in his later works. For example, the frontispiece of the Prima Parte read as an etching to Piranesi’s audience, but in his later vedute, the style of etching almost appears to be made of brushstrokes. Moreover, at the same time Piranesi was working on the Prima Parte, he aided the artist Giambattista Nolli. There is a small section of Nolli’s map...

Piazza Colona Etching, 1752 From: Della Magnificenze di Roma Antica e Moderna ( The Magnificense of Ancient and Modern Rome) , (1747-1761) Volume II, The Main Squares and Obelisks, ...

Veduta dell'esterno della gran Basilica di S. Pietro in Vaticano (View of the Exterior of St. Peter's Basilica in the Vatican) Etching, 1748 From the first printing of the "Vedute di Roma" An early impression with strong contrasts Before the price and the addition of numbers in the later states. A view of Michelangelo's done from behind the Piazza, redesigned in 1547 Condition: Excellent Plate size: 15 3/4 x 24 3/4 inches Reference: Robison 5 a/g Hind 5 i/VII Focillon 54.789 Designed principally by Donato Bramante, Michelangelo, Carlo Maderno and Gian Lorenzo Bernini, St. Peter's is the most renowned work of Renaissance architecture and the largest church in the world. While it is neither the mother church of the Catholic Church nor the cathedral of the Diocese of Rome (these equivalent titles being held by the Archbasilica of Saint John Lateran in Rome), St. Peter's is regarded as one of the holiest Catholic shrines...

Basilica e Monasterio di S.Paolo Fuori le Mura is an etching on paper of the Late 18th century realized by Giuseppe Vasi. Signed and titled on plate lower margin. Good conditions ...

Palazzo Colonna di Sciarra is an original etching of the Late 18th century realized by Giuseppe Vasi. Signed and titled on plate lower margin. Good conditions except for consumed ...

Chiesa di S.Carlo ed Ambrogio al Corso is an original etching of the Late 18th century realized by Giuseppe Vasi. Signed and titled on plate lower margin. Good conditions except f...

Collegio di Propaganda Fide is an etching on paper of the Late 18th century realized by Giuseppe Vasi. Signed and titled on plate lower margin. Good conditions except for consumed margins and Foxings. Giuseppe Vasi (Corleone,1710 - Rome, 1782) was an engraver, architect, and landscape artist. Between 1746 and 1761, Vasi published 10 volumes with 240 engravings of the monuments of Rome...