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Piranesi: Drawings Colour Plates
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Giovanni Battista Piranesi (1720-1778), Italian engraver and architect, is best known for his etchings of ancient and baroque Rome and grandiose architectural constructions of his own imagination. Throughout most of his adult life Piranesi made etchings of views of the city; not only its antiquities, such as the Pantheon, but also its contemporary masterpieces such as the Capitoline and Piazza Navona. The scenes are animated with tiny, frail, fluttering figures. Long before he died his prints of his adopted city had caught the imagination of much of Europe.
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Book preview
Piranesi - Maria Peitcheva
Piranesi: Drawings
Colour Plates
By Maria Peitcheva
First Edition
*****
Piranesi: Drawings Colour Plates
*****
Copyright © 2015 Maria Peitcheva
Foreword
Giovanni Battista Piranesi (1720-1778), Italian engraver and architect, is best known for his etchings of ancient and baroque Rome and grandiose architectural constructions of his own imagination. Throughout most of his adult life Piranesi made etchings of views of the city; not only its antiquities, such as the Pantheon, but also its contemporary masterpieces such as the Capitoline and Piazza Navona. The scenes are animated with tiny, frail, fluttering figures. Long before he died his prints of his adopted city had caught the imagination of much of Europe. In 1771 Horace Walpole urged his fellow Englishmen to study the sublime dreams of Piranesi, who seems to have conceived visions of Rome beyond what it boasted even in the meridian of its splendour. Savage as Salvator Rosa, fierce as Michelangelo, and exuberant as Rubens, he has imagined scenes that would startle geometry, and exhaust the Indies to realize.
Giovanni Battista Piranesi was born on Oct. 4, 1720, at Mojano di Mestre near Venice, the son of a stonemason. His early training in Venice under his uncle, Matteo Lucchesi, an architectural engineer, gave Piranesi a grasp of the means of masonry construction—scaffolding, winches, hawsers, pulleys, and chains—that stayed with him the rest of his life. His understanding of the vocabulary of classicism came largely from Andrea Palladio's book on architecture; his knowledge of architectural renderings he drew in part from Ferdinando Bibiena's book on civil architecture (1711); and his manner of placing buildings on a diagonal, sharply foreshortened, probably came from contemporary Venetian stage design.
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