Giovanni Battista PIRANESI Italian, 1720-1778

Self Portrait, 1750

 

 

Probably the finest architectural engraver of all time, known as "The Rembrandt of architecture"

 

Giovanni Battista (Giambattista) Piranesi was one of the greatest printmakers of the 18th century.  Born in Mojano di Mestre, Venice, he was the son of Angelo Piranesi, a stonemason and master builder, and Laura Lucchesi.  His brother, Andrea, introduced him to Latin and inspired him with a lifelong passion for the history and achievements of ancient Rome: and he received practical training in drawing, architecture and structural and hydraulic engineering from an uncle, Matteo Lucchesi, who was Magistrato delle Acque, a Venetian engineer who specialised in excavation.  He first studied etching and perspective composition under Carlo Zucchi in Venice, and, in 1740, aged 20, he travelled to Rome in the entourage of the new Venetian ambassador, Francesco Venier, and is thought to have resided in Palazzo Venezia, the then Venetian Embassy.  He was instantly captivated by the splendour of ancient Rome.

 

He studied stage design under Giuseppe and Domenico Valeriani (Italian, 1708-1762 and 1720-1771 respectively) and apprenticed himself to the engraver Giuseppe Vasi (Italian, 1710-1782), his later colleague and rival, from whom he learned the art of engraving copper plates.  Piranesi’s willingness to embrace the profession of printmaking was conditioned by his ties to Venice, the only city in 18th century Italy where the greatest artists turned their hands to etching.

His father being unable to continue his allowance, Piranesi returned to Venice in 1743-44 and returned to live there from 1745-1747 where he began the first series of Carceri d'Invenzione (Imaginary Prisons).  He returned to Rome in 1747 and set up his own studio in the Via del Corso. In the autumn he embarked on the massive work, the Vedute di Roma (Views of Rome). He continued to add plates until the end of his life by which time they totalled 135.  With their dynamic compositions, bold lighting effects, and dramatic presentation, the Vedute created a sensation throughout Europe.

 

Piranesi devoted himself to mastery of the medium of etching and they are technically masterful evocations of ancient buildings that are simultaneously scholarly visual essays and imaginary studies in space, scale and light.  In 1756 he published Antichità Romane de' tempo della prima Repubblica e dei primi imperatori (Roman Antiquities of the Time of the First Republic and the First Emperors).  This established his reputation and, his works being appreciated by wealthy English visitors to Rome, he was also elected an Honorary Fellow of the Royal Society of Antiquaries of London, in 1757.   In 1761 he became a member of the Accademia di San Luca and opened a printing facility of his own as well as publishing the second series of plates for which he is best known, the fictitious and atmospheric architectural fantasies, Carceri d'Invenzione (Imaginary Prisons).

 

From 1764-67, Piranesi worked on his only architectural project, the transformation of the church of Santa Maria del Priorato of the Cavalieri di Malta (Knights of Malta) on the Aventine Hill and, in 1776, he created his famous Piranesi Vase, his best known work as a 'restorer' of ancient sculpture.

 

Piranesi was a rapid and facile worker and etched more than 2000 large plates during his lifetime, all of which are full of detail and vigour.  He usually drew directly onto copper, the effect of which are images that are bold, free, and spirited to a marked degree, with a dramatic juxtapositions of black and white, and light and shade. Skilful and artistic printing lent an added charm to his works, which include Roman Antiquities - 220 plates; Views of Rome - 130 plates; Antique Statues, Vases & Busts - 350 plates; Magnificence of the Romans - 47 plates.  Some of the etchings in his 29 folio volumes are on double-elephant paper, ten feet in length.

 

Piranesi was knighted by the Pope in 1765 and, thereafter, he regularly signed his plates ‘Cavalier Piranesi sc.’ The Pope frequently gave sets of his works as gifts to distinguished visitors.

 

During his lifetime Piranesi was called "The Rembrandt of architecture".  His highly original images of both real and imaginary Ancient Rome exerted a strong influence on the Neoclassicists and early Romantic writers were quick to recognise his vision.  Piranesi’s tireless devotion to his work and his identification with the grandeur of Rome never flagged.  He died in Rome in 1778 after a long illness but, even on the day of his death, he spent his final hours busy among his drawings and copperplates, reputedly refusing to rest, saying that “Repose is unworthy of a citizen of Rome”.  He was buried in the church of Santa Maria del Priorato as his wife and sons had requested.

© Albany Fine Art

 

 

USEFUL LINKS (listed alphabetically)

A World History of Art (13 works)

 

 

Biographies