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Giovanni Battista PiranesiFabricius (Ponte Cestio) Bridge : Framed 18th C. Piranesi Architectural Etching1756-1757
1756-1757
About the Item
This framed 18th century etching by Giovanni Battista Piranesi is entitled "Dimostransi nella Tav. presente la Pianta, ed Elevazione del Ponte, oggi detto Quattro Capi egli è antichissimo, e chiamavasi Fabrizio da L. Fabrizio Presid. delle Strade, che lo fabbrico' nel fine della Repubblica. "(The Plan and Elevation of the Bridge, today called Quattro Capi. The architect is very ancient, and was called Fabrizio da L. Fabrizio Presid. delle Strade, who built it at the end of the Republic). This is plate 18 in volume 4 of Piranesi's "Le antichita romane opera di Giambatista Piranesi architetto veneziano" (Roman antiquities by Giambatista Piranesi Venetian architect). It was published in Rome in 1756-1757.
This etching depicts the plan and elevation of the bridge now called the Ponte dei Quattoro Capi or Ponte Cestio (Bridge of the Four Heads), which in antiquity was called the Bridge of Fabricius after L. Fabricius, the Superintendant of the Streets who built it at the end of the Republic, around 62 BC. It was also been known in the Middle Ages as ‘Ponte Giudeo’ (Bridge of the Jews). The bridge crossed from the left bank or northeast side of the Tiber River to Tiber Island. The left side of the image is occupied by the riverside structures of the former Ghetto. The focal point of the composition is the Pons Fabricius with its central pier with three men standing on top. Another bridge and multiple important architectural landmarks are seen in the background, which are labelled with numerous and letters and identified in the inscription below.
This Piranesi etching is held by many museums and institutions, including: The Metropolitan Museum Art in New York and The Riksmuseum in Amsterdam..
This etching is presented in a black wood frame and a white mat. The frame measures 25.63" high, 30.5" wide and 0.63" deep. There is a central fold, as issued. There is mild waviness of the upper edge on the right and small faint spots. The etching is otherwise in very good condition.
Piranesi was born in Venice in 1720 and died in Rome in 1778. He was the son of a stone mason and was trained as an architect. He began working on his first etchings in the early 1740s, and after a slow start by the 1750's he had achieved great success as an architect, archaeologist, artist, designer, collector, and antiquities dealer. His mission was to glorify the architecture of ancient Rome through his etchings. Piranesi's etchings were highly detailed and captured the grandeur of Rome's ancient ruins and architectural marvels. He used a combination of realism and imagination to create dramatic compositions that were both accurate and awe-inspiring. His highly dramatized prints often depict imaginary interiors and frequently include figures in mysterious activities, who are dwarfed by the magnitude of their monumental surroundings.
Piranesi also began collecting, restoring and selling ancient architectural objects in the 1760's in partnership with Thomas Jenkins and Gavin Hamilton, who had financed numerous excavations in the Pantanello area of Hadrian’s Villa at Tivoli. In 1768 Piranesi began creating etchings depicting these objects. The plates were eventually published together as a set in 1778 in "Vasi, Candelabri, Cippi, Sarcofagi, Tripodi, Lucerne ed Ornamenti Antichi". Piranesi dedicated many of the plates to patrons, colleagues, good customers and influential people. Many of the antiquities shown in "Vasi" were eventually sold to King Gustav III of Sweden by Piranesi's son, Francesco Piranesi, after his father’s death, and now reside in the National Museum in Stockholm.
In addition to his art, Piranesi also designed buildings and interiors in Rome, including the Church of Santa Maria del Priorato and the Villa Adriana in Tivoli. He also wrote several books on archaeology and ancient art. He was also a collector of ancient architectural objects, restoring and often selling them to European tourists. Piranesi was knighted by the Pope in 1765 and he was elected a Fellow of the Society of Antiquaries in England in 1757. Piranesi's style greatly influenced the development of neoclassical art movement of the late 18th century and early 19th centuries. His dramatic scenes inspired generations of set designers, as well as artists, architects and writers. Piranesi died on November 9, 1778, in Rome, Italy, at the age of 58. He is remembered today as one of the greatest artists and architects of the 18th century, whose work continues to inspire and fascinate people around the world. His prints have continued to increase in value to institutions and collectors.
- Creator:Giovanni Battista Piranesi (1720-1778, Italian)
- Creation Year:1756-1757
- Dimensions:Height: 25.63 in (65.11 cm)Width: 30.5 in (77.47 cm)Depth: 0.36 in (9.15 mm)
- Medium:
- Movement & Style:
- Period:1750-1759
- Condition:
- Gallery Location:Alamo, CA
- Reference Number:
Giovanni Battista Piranesi
Piranesi was born in Venice in 1720 and died in Rome in 1778. He was the son of a stone mason and was trained as an architect. After a slow start he eventually achieved great success as an architect, archaeologist, artist, designer, collector, and antiquities dealer. His mission was to glorify the architecture of ancient Rome through his engravings and etchings. His highly dramatized prints often depict imaginary interiors and frequently include figures in mysterious activities, who are dwarfed by the magnitude of their monumental surroundings. Piranesi's style greatly influenced the neoclassical art movement of the late 18th century. His dramatic scenes inspired generations of set designers, as well as artists, architects and writers. His prints have continued to increase in value to institutions and collectors.
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