C1760

Vue d’un superbe Pallais de Rome.

Artist:

Giovanni Battista Piranesi (1720 - 1778)

$A 750

Fine c.18th vue Optic taken from Piranesi’s famous engraving, ‘Ponte Magnifico’ first issued in 1750 his series, ‘Opere Varie di Architettura Prospettiva Groteschi, Antichi Inventate..… This was one of Piranesi’s ‘imaginary creations or invented views’, which showcased his architectural and … Read Full Description

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S/N: DEC-1760-VOP-31A–217028

(F34)

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Details

Full Title:

Vue d’un superbe Pallais de Rome.

Date:

C1760

Artist:

Giovanni Battista Piranesi (1720 - 1778)

Condition:

In good condition.

Technique:

Copper engraving with original hand colouring

Image Size:

370mm

x 255mm

Genuine antique
dated:

1760

Description:

Fine c.18th vue Optic taken from Piranesi’s famous engraving, ‘Ponte Magnifico’ first issued in 1750 his series, ‘Opere Varie di Architettura Prospettiva Groteschi, Antichi Inventate..… This was one of Piranesi’s ‘imaginary creations or invented views’, which showcased his architectural and artistic aspirations.

Vue Optic: During the c.18th “vues d’optique” became extremely popular in England and Europe. They capitalised on a market eager for the latest novelty. They were specifically designed to create the illusion of perspective when viewed with a zograscope or perspective glass. These viewing devices used a series of reflecting mirrors to enhance the illusion of depth in the print, creating a veritable “view” for the onlooker.

References:
Bettagno, A. Piranesi Incisioni-Rami-Legature Architetture Venice 1981: p.23, 38, ill. 38.
Hind, A. Giovanni Battista Piranesi - A critical study with a list of his published works and detailed catalogues of the prisons and the views of Rome. London 1978 :: p. 78-80.
Wilton-Ely, J. Piranesi. London 1978 :: p.26-27.

Collections:
Getty Museum Los Angeles: Object name: 981_05_lccm201213_27520

Giovanni Battista Piranesi (1720 - 1778)

Piranesi was an Italian Classical archaeologist, architect, and artist, famous for his etchings of Rome and his series on prisons, Le Carceri d'Invenzione. His father was a stonemason. His brother Andrea introduced him to Latin literature and ancient Greco-Roman civilization, and later he was apprenticed under his uncle, who was a leading architect in Magistrato delle Acque, the state organization responsible for engineering and restoring historical buildings. From 1740, he had an opportunity to work in Rome as a draughtsman for Marco Foscarini, the Venetian ambassador of the new Pope Benedict XIV. He resided in the Palazzo Venezia and studied under Giuseppe Vasi, who introduced him to the art of etching and engraving of the city and its monuments.

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