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DSDN 171.pptx

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Presentation Slides & Transcript

Presentation Slides & Transcript

DSDN 171
Giovanni Piranesi

Giovanni Battista Piranesi
1720 Italy - 1778 Italy

Also encompassed the graphic arts, archeology, interior design, political debate, the decorative arts & the restoration of classical antiquities.

- First 20 years of his life in Venice
- Piranesi studied as an architect under his Uncle Matteo Lucchesi.
- In 1740 Giovanni over to Rome where he spent most of his life, and developed his etching skills.
- Vedute di Rome.
- Prima parte di architture e prospettive, 1943.
- Le antichità romane. 1756, the antiquities of Rome
- Della magnificenza ed architettura de' Romani. 1761 AND Il Campo Marzio dell'antica Roma. 1762

Giovanni was influenced by:
- Andrea (Brother), who introduced him to Latin and ancient civilisation.
- (Father), A stone mason and master builder.
- Matteo Lucchesi (Uncle), Venetian engineer and specialized in excavation.
- The tradition of typographical art represented by Canaletto (A italian landscape painter, printmaker, etcher)
- Also Marco Ricci and Giovanni Battista Tiepolo (Both etchers)

Giovannis influence during his life:

- “On Roman antiquity and exerted a major influence on many of the leading architects and designers of European neoclassicism.”

- In 1745 Giovanni influenced visiting artists, architects and patrons in Rome for the following 4 decades. This allowed him to exert a critical influence on the development of Avant-garde British architecture.

From Le style Piranesi, époque
Louis XVI (The Piranesi style,
Louis XVI period), by Édouard Rouveyre,
Paris, circa 1908.
Shows his influence on later works.

Giovanni Piranesi's Influence on Other Artists
Piranesi’s artworks hugely influenced neoclassicism. Neoclassical design is also continuously used throughout the 20th and 21st century.

His prints depicting buildings of classical and postclassical Rome contributed to Rome’s fame and the growth of classical archaeology and the neoclassical movement in art.

The etched plates of the Vedute di Roma helped sculpt Europe's view of classical design, and these prints influenced other designers.

Piranesi's may have not been an influence as an architect but his romanticized views, imaginary interiors and hyper exaggerated images inspired designers, writers and painters.

Hubert Robert (22 May 1733 – 15 April 1808), was a French painter, noted for his landscape paintings and depictions of ruins. Robert spent some of his time with young artists in the circle of Piranesi. Piranesi had a huge influence on his paintings
G.B Piranesi Vestibolo d'antico Tempio (Vestibule of an ancient temple),c 1743, Etching, 258 x 350 mm
H. Robert, The Finding of the Laocoon, c 1773, painting

William Beckford, the author of the Gothic novel, Vathek (1786) wrote, “I drew chasms, and subterranean hollows, the domain of fear and torture, with chains, racks, wheels and dreadful engines in the style of Piranesi.”

M. C. Escher (Maurits Cornelis Escher) was a Dutch Graphic Artist among those possibly inspired by Piranesi. Escher’s later works became progressively more complex and increasingly Surrealist

G. B. Piranesi Carceri Plate VII - The Drawbridge, c 1745, print
M. C. Escher Relativity, c 1953, Lithograph

Giovanni Battista Piranesi inspired Dante Ferretti, an Italian production designer, art director and costume designer for films. Dante Ferretti has designed for movies such as Gangs of New York (2002) Sweeney Todd: The Demon Barber of Fleet Street (2007) and Shutter Island (2010)

20th & 21st Century influence:In the 20th century his imaginary interiors have been admired by Surrealists and provided source material for horror film set designers. Piranesi's images have influenced movies from Metropolis and Blade Runner to the moving staircases at Hogwarts.

Two major socio-political influences:

- European Enlightenment

- Graeco-Roman debate

Personal circumstances:

- trained as architect

- supported by Venetian Pope Clement XIII

Giovanni Piranesi

Researched by - Christie Higgins, Grace Hemara, James Bodnar
Presented by - Helen Williams

- Slide 1 through till 4:
John, W.E. (1978). The mind and art of Giovanni Piranesi. London: Thames and Hudson
- Quote on 5th slide:
APA: Jonathan, D. (2004). Europe, 1450 to 1789: Encyclopedia of the Early Modern World. (Volume 6: pp. 482 – 485). New York: Charles Scribner’s Sons.
- slides 6 through 9
-Piranesi, G. B (1756). View of the Via Appia. Retrieved April 4, 2013, from,-from-Le-Antichita-Romane-de-G.B.-Piranesi-1756,-published-in-Paris,-1835.html
-Piranesi, G. B. (1748). Fantasy of ruins with statue of minerva. Frontispiece of the Series “Views of Rome”, Roman Edition; Etching on paper
-Piranesi, G. B. (1750). Imperial Mausoleum, retrieved April 4, 2013 from
-Piranesi, G. B. (1756). Via Appia Imaginaria. retrieved April 4, 2013 from

Slides 10 through 14
- Piranesi, G. B. (1750). Pyramid of Cestius. retrieved April 4, 2013 from
- Piranesi, G. B. (1753). Two sides of sedan chairs, two tables to the wall, two clocks, three coffee makers, a frieze. Retrieved april 4, 2013 from
-Piranesi, G. B. (1769). Side table for Monsignor Rezzonico. retrieved april 6, 2013 fom
- Rouveyre, E. (1908). Le style Piranesi, époque Louis XVI (The Piranesi style, Louis XVI period). retrieved april 6, 2013 from

Slides 15 to 18:
- J.Jones, The Guardian, No Way Out (2002). Retrieved April 7th, 2013 from
- S. West, (1996) The Bulfinch Guide to Art History: A Comprehensive Survey and Dictionary of Western Art and Architecture , Little, Brown and Company, Retrieved April 7th, 2013 from
- Baroque and Rococo. Retrieved April 7th, 2013 from
- J. Altdorfer, Inside A Fantastical Mind (2008). Retrieved April 7th, 2013 from
- G.B Piranesi Vestibolo d'antico Tempio (Vestibule of an ancient temple),c 1743, Etching. Retrieved April 8th, 2013 from
-H. Robert, The Finding of the Laocoon, (c 1773), painting. Retrieved April 8th, 2013 from f
- G. B. Piranesi Carceri Plate VII - The Drawbridge, (c 1745), print Retrieved April 8th, 2013 from
- M. C. Escher Relativity, (c 1953), Lithograph Retrieved April 8th, 2013 from