He was well-known figure to the wealthy English visitors in Rome and was elected a Fellow of the Society of Antiquaries in 1757. His position in Rome and in Europe after 1760 was a prominent one. They were Francesco (born 1748 or 1756 died 1810), Pietro (who lived till after 1807) and Laura (born 1750). He had two sons and a daughter, all of whom helped him in his work and after his death carried on his publications in Rome and Paris. He was fond of peopling his ruins with Callot-like figures, and \"like Callot makes great use of the swelling line\" (Hind). While he achieved a work of magnitude in pictorial records of Roman monuments of antiquity and of the Renaissance, and gave immense archæological, antiquarian, and topographical value to this work, the artistic quality always predominates. His output in etched plates is enormous (about 1000 numbers in all).
Piranesi catalogo completo de grabados series#
This time he achieved success, and a constant series of works, illustrating architecture and antiquities, issued from his studio until his death in 1778. He was soon, however, encouraged to return to Rome by Giuseppe Wagner, a successful engraver and publisher of Venice. He appears to have had little success in these early years in Rome and as his father was unable to continue his allowance returned to Venice in 1744. In 1740 Piranesi left Venice for Rome, there he studied etching under Giuseppe Vasi. The son of a stone-mason, he was educated as an architect under his maternal uncle Matto Lucchesi and under Carlo Zucchi. He was born in Venice on the 4th October 1720. These fine prints served as source material for other architects and designers. As architect, archaeologist, artist, designer, collector, and antiquities dealer, he produced a series of etchings and engravings depicting the glories of ancient Rome. Hind 17This is the 5th state We are unable to determin a watermark due to the fact that the plate has been laid on paperThis print is from the First Paris edition of Veduta di Roma and was published between 1800-1807Giovanni Battista Piranesi was one of the leading figures in the development of the neoclassical style in the late 18th Century.
Aufgrund des niedrigen Blickwinkels und der kleinen fragilen Figuren wirken diese Gefängnisse wie monströse Megastädte der Eingeschlossenheit und werden bis heute als Meisterwerke eines existenzialistischen Dramas gesehen. Da existieren Treppen auf mehreren Ebenen gleichzeitig, weite Gewölbedecken reichen scheinbar bis in den Himmel, die Grenze zwischen Innen und Außen verschwimmt. Sie transzendieren die architektonische Realität und spielen mit Perspektive, Licht und Maßstab. Die filigranen und detailreichen Zeichnungen von Haftanstalten basieren eher auf damaligen Bühnenbildern als auf der Trostlosigkeit tatsächlicher Verließe. Piranesi formte jedoch nicht nur die europäische Vorstellung von Rom, sondern ist auch für seine fantasievolle Serie von Gefängnisbildern bekannt, den Carceri, die Generationen von kreativen Künstlern, von Samuel Taylor Coleridge und Edgar Allan Poe bis hin zu Franz Kafka, Jorge Luis Borges und den Surrealisten, beeinflusst haben. Seine faszinierenden Druckwerke verliehen den archäologischen Ruinen Drama und Romantik und wurden zu begehrten Souvenirs für die damaligen Touristen, die Italien bereisten, um die Kultur der klassischen Antike zu studieren. Jahrhunderts, Giovanni Battista Piranesi (1720-1778), machte sich mit Stichen vom alten Rom einen Namen.
0 kommentar(er)
