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Giovanni Battista PiranesiView of the Ancient Structure built by Tarquinius Superbus called the Bel Lido1750-1778
1750-1778
About the Item
View of the Ancient Structure built by Tarquinius Superbus called the Bel Lido, and like others built by Marcus Agrippa in the time of Augustus when he cleaned all the sewers leading to the Tiber [The Cloaca Maxima], from Vedute di Roma (Roman Views), part II
Etching, c. 1750-1778
Signed: Cav. Piranesi F. lower right of plate
Series/Portfolio: Vedute di Roma
A very late Roman printing,
No visible watermark
According to Andrew Robison "As for no watermark at all, it does occasionally happen, more often in French printings than Italian, but not exclusively so. You are doing exactly the right thing to focus on the distinctive characteristics of the paper: on the whole the late 18th-century Italian paper is more pebbly on the surface, frequently thicker, and almost always more sized and polished, whereas the 19th-century French paper is softer, more flexible, and more blotter-like on the surface." (4/3/2023 email)
Inscription: At lower left: VEDUTA delle antiche Sostruzioni fatte da Tarquinio Superbo dette il Bel Lido, o come altri erette da Marco Agrippa à tempi di / Augusto, in occasione, ch'Egli fece ripurgare tutte le Cloache fino al Tevere. A Sbocco della Cloaca Massima al medesimo Fiume.
At lower right: B Tempio di Cibele, co come altri d'Ercole, il quale era situato nell'antico Foro Boario. C Avanzi delle antiche / D Monistero e Chiesa di S. Alessio. E Priorato della Sagra Religione di Malta. Saline. / Cav. Piranesi F.
Before the numbers 57 lower right margin and 741 upper right of image
Printed on a heavy, pebbled laid paper, without watermark
Clearly a Roman printing during the artist's lifetime.
Condition: Excellent
Full sheet with centerfold and paper tipping hinge verso
Image/Plate size: 17 1/2 x 26 3/8 inches
Sheet size: 22 3/16 x 31 3/4 inches
Annotated "44" verso in ink
four small bits of hinge residue recto
A rich impression with the darks providing strong contrasts and the lightly etched areas printing clearly with sharp detail.
Reference: Focillon 841
Wilton-Ely 258
Hind 125 i/III
Regarding Vedute di Roma
"By 1747, Piranesi had begun work on the Vedute di Roma, and he continued to create plates for this series until he died in 1778. Piranesi’s Vedute, which overshadowed competitor’s views of Roman landmarks through compelling compositions, strong lighting contrasts, and dramatic presentation, shaped European conceptions of present day Rome. This influenced European thought to such an extent that Grand Tourists, who had come to know Rome through Piranesi’s prints, were recorded as being disappointed on their first encounter with the real thing.39 The views were intended as tourist souvenirs and, from their instant popularity, Piranesi had obviously judged the market well. His early sites include obvious popular sights, such as Piazza della Rotonda and the Sepolcro di Cecilia Metella. The first thirty-four views were published in a single volume and entitled Le Magnificenze di Roma. In his first views, the monument or subject was drawn from a distance so that it was clearly set in its context. The little figures present at the ground level are the everyday people and visitors in contemporary Rome. As represented in the “Veduta della Piazza della Rotonda,” Piranesi, clearly contorting perspective, etched an exaggerated and extended view of the Rotonda, unfocused on a specific aspect of the scene. His later views featured heavier line, a sublime eye, and more dramatic perspectives. They also specifically concentrate on a monument, like the “Veduta del Ponte Salario,” or ruin instead of portraying a sweeping view of Roman landscape. These changes could possibly be a response to market demand and what Grand Tourists wanted to see in their vedute, or it could be a personal style change as Piranesi became intrigued by the idea of the sublime. Nevertheless, these views of Rome firmly established Piranesi’s reputation and gave him the initial financial stability that enabled him to tackle grander themes. Moreover, Piranesi’s interest in ruins was genuine antiquarian desire to preserve and record.40 Piranesi was able to focus in on his awareness of what was noble and magnificent and gain a sense for the sublime in the architectural tradition of Rome. Piranesi’s lifelong obsession with architecture, past and present, was fundamental to his genius. His etched plates contained remarkable imagination and a practical understanding of ancient technology. They created a perception of antiquity lasting to our own time."
Courtesy Wellesley College
- Creator:Giovanni Battista Piranesi (1720-1778, Italian)
- Creation Year:1750-1778
- Dimensions:Height: 17.5 in (44.45 cm)Width: 26.38 in (67.01 cm)
- Medium:
- Movement & Style:
- Period:1750-1759
- Condition:
- Gallery Location:Fairlawn, OH
- Reference Number:
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