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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:Seller: FA123861stDibs: LU14015736842
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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Signed lower left corner of the plate
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Watermark: R 37-39
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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...
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