![]() In 1745 Piranesi’s first real success came with his Imaginary Prisons, 16 large plates that are often considered his masterpieces. He took a consignment of prints (not his own) with him to sell as a publisher’s agent and thus was able to get a financial foothold. He returned to Rome in 1745, this time to stay. ![]() From this period date Piranesi’s etchings called grotesques: rococo shapes interlaced with fragments of ancient ruins. The project was a financial failure.īy 1744 Piranesi was back in Venice, probably working in the studio of Giovanni Battista Tiepolo. Trained as an architect but unable to find commissions, Piranesi published in 1743 a book of prints of imaginary buildings of enormous scale, inspired by the architecture of imperial Rome. In Rome he learned to etch from Giuseppe Vasi. In 1740 Piranesi went to Rome as a draftsman on the staff of the Venetian ambassador, Marco Foscarini. ![]() His understanding of the vocabulary of classicism came largely from Andrea Palladio’s book on architecture his knowledge of architectural renderings he drew in part from Ferdinando Bibiena’s book on civil architecture (1711) and his manner of placing buildings on a diagonal, sharply foreshortened, probably came from contemporary Venetian stage design. His early training in Venice under his uncle, Matteo Lucchesi, an architectural engineer, gave Piranesi a grasp of the means of masonry construction-scaffolding, winches, hawsers, pulleys, and chains-that stayed with him the rest of his life. 4, 1720, at Mojano di Mestre near Venice, the son of a stonemason. Italian engraver and architect, is best known for his etchings of ancient and baroque Rome and grandiose architectural constructions of his own imagination.īorn on Oct.
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