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).
#Views of rome piranesi 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. Giovanni Battista Piranesi was one of the leading figures in the development of the neoclassical style in the late 18th Century. This print is from the First Paris edition of Veduta di Roma and was published between 1800-1807 We are unable to determin a watermark due to the fact that the plate has been laid on paper Piranesi Veduta della Piazza della Rotonda Rear View of the Temple of Pola in Istria.Ampitheater of Pola in Istria near the sea, plate 23 from Some Views of Triumphal Arches and other monuments, 1748.Arch of Pola in Istria near the Gate, plate 24 from Some Views of Triumphal Arches and other monuments, 1748.Ampitheater of Verona, plate 25 from Some Views of Triumphal Arches and other monuments, 1748.Temple of Clitumnus between Foligno and Spoleto, plate 26 from Some Views of Triumphal Arches and other monuments, 1748.Tomb of the three Curiatii brothers in Albano, plate 27 from Some Views of Triumphal Arches and other monuments, 1748.Arch of Trajan in Ancona, plate 28 from Some Views of Triumphal Arches and other monuments, 1748.Interior view of the Colosseum, from Views of Rome, 1766, published 1807–35.
View of the Arch of Constantine, from Views of Rome, 1771, published 1800–07.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 of the sewers leading to the Tiber, from Views of Rome, 1776, published 1800–07.Tomb of Caecilia Metella, from Views of Rome, 1762, published 1800–07.Piranesi, Fellow of the Royal Society of Antiquaries, London, 1762 The Campus Martius of Ancient Rome, the Work of G.B.Opere Varie di Architetura Raccolta di Alcuni Disegni del Barberi da Cento detto Il Guercino, 1750.
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