1. Giovanni Battista Piranesi
(1720-1778)

2. Background
• Born: 4.10.1720
• Parents: Angelo and Laura Lucchesi
• Birthplace: Mogliano Veneto (Venice)

3. Studies
• Architecture: Under Matteo Lucchesi and
Giovanni Scalfarotto
• Etching: Under Carlo Zuchhi
• Stage Design: Under Domenico and
Guiseppe Valeriani

4. Family
• Married Angela Pasquini, in 1752.
• Children: Francesco – son
Death
• Death date: 9.11.1778
• Cause: Illness
• Buried: Vila of the Knights of Malta, Rome

5. Style: Neoclassical
Neoclassical Design
(1550 – 1850)
Key Figure in Neoclassical design
• Rational
• Geometrical
• Restrained
• Reflects Modern Conception of
Design

6. Style: Neoclassical
• Recreation of classical
design
• Obsessed with ancient
Rome.
• Exemplifies simple
engineering

7. Worked as:
1740 – studied in rome – Giuseppe Vasi (famous artist) introduced him to
etching / engraving.
After studies, collaborated with pupils of French Academy in Rome
(producing views of city, or “Vedute”)
1747 – opened a workshop in Via del Corso.
1748 – 1774 - created more views of rome (establishing his fame)
1761 – became a member of the Accademia di San Luca (focused on the
upbringing of upcoming artists) opened a printing facility, where some of
his works were printed.
1769 – Designed seemingly bizarre chimneypieces and designed furniture,
establishing himself as a designer.
1776 – Created Piranesi Vase, best known work as a restorer of ancient
sculpture.
1777-1778 – published a collection of views of Paestum.

8. Became famous for:
Etchings of Rome
Piranesi, G. B. (1752). Vedute di Roma, pt. I; Views of Rome, pt. I. [Etching]. The Metropolitan Museum of
Art, 1000 Fifth Avenue, New York, NY. Retrieved from ARTstor Online database.

9. Became famous for:
Antiquarianism
Piranesi, G. B. (1756). An Analysis of the Structure of the Mausoleum of Cecilia Metella [Etching]. Rogers Fund.
Retrieved from
The Metropolitan Museum of Art database.

10. Influences
• Classical Roman
Architecture
[Aerial Photograph of the Colosseum in Rome]. (AD
69-80). Alinari/Art Resource, NY. Retrieved from
Oxford Art Onine database.
• Archeological Ruins
Piranesi, G. B. (1776). Veduta dell'Anfiteatro Flavio
detto il Colosseo [Etching]. The Elisha Whittelsey
Collection. Retrieved from
The Metropolitan Museum of Art database.

11. Influences
Traditional Italian topographical art & etchings.
Giovanni Battista Tiepolo (1696 – 1770)
Tiepolo, G. M. (1720). Decorative and Architectural Motifs [oil on
canvas]. Cecil Higgins Art Gallery, Bedford. Retrieved from
VADS database.

12. Influences
Traditional Italian topographical art & etchings.
Marco Ricci (1676-1729)
Ricci, M. (1705). Landscape [oil on canvas]. Shipley Art Gallery,
Gateshead. Retrieved from
VADS database.

13. Influences
Traditional Italian topographical art & etchings.
Giovanni Antonio Canal (1697 – 1768)
Canaletto, G. A. (1745). Ruined Bridge with Figures [oil on canvas].
Victoria and Albert Museum. Retrieved from
VADS database.

14. Influenced
• Hellenic originality
controversy
• European perspective
on classical Roman
design.
• Neoclassicism
• Archeological
methods and Piranesi, G. B. (1756). An Analysis of the Structure of the
Mausoleum of Cecilia Metella [Etching]. Rogers Fund.
illustration techniques Retrieved from
The Metropolitan Museum of Art database.

15. Influenced
• Avant-garde British
architecture
• Interior Design
Adams, R (158-67). The Croome Court Tapestry Room
[Plaster, Pine, Mahogany, Bronze-gilt, Marble, Lapis Lazuli,
Steel, and Tapestry}. Samuel H. Kress Foundation.
Retrieved from
The Metropolitan Museum of Art database.

16. References
Text Research Imagery Research
[Aerial Photograph of the Colosseum in Rome]. (AD 69-80). Alinari/Art
Wilton-Ely, J. (1978). The Mind and Art of Giovanni Battiste Resource, NY. Retrieved from Oxford Art Onine database.
Piranesi. London: Thames and Hudson.
Piranesi, G. B. (1776). Veduta dell'Anfiteatro Flavio detto il Colosseo [Etching].
The Elisha Whittelsey Collection. Retrieved from The Metropolitan Museum of
Ficacci, L. (2006). Piranesi: The etchings. Köln: Taschen. Art database.
Dewald, J. (Ed.). (2004). Europe, 1450 to 1789: Encyclopedia of Tiepolo, G. M. (1720). Decorative and Architectural Motifs [oil on canvas]. Cecil
Higgins Art Gallery, Bedford. Retrieved from
the Early Modern World, New York: Charles Scribner's Sons.
VADS database.
Edouard, B.F. (ca.1861). Pont du Gard [Albumen silver print from glass
Robinson, A. (1986). Piranesi: Early Architectural Fantasies: A
negative]. Metropolitan Museum of Art, France. Retrieved from artstor
Catologue Raisonne of the Etchings, Chicago
Wilton-Ely, J. (1994). Giovanni Battista Piranesi: The Complete
Ricci, M. (1705). Landscape [oil on canvas]. Shipley Art Gallery, Gateshead.
Etchings, San Francisco
Retrieved from VADS database.
Wilton-Ely, J. (1993). Piranesi as Architect and Designer. New
York: Pierpont Morgan Library Possibly English. (1701-1800). Neo-Classical Mirror. The John and Mable
Ringling Museum of Art, the State Art Museum of Florida, a division of Florida
State Univeristy. Retrieved from Artstor
[Aerial Photograph of the Colosseum in Rome]. (AD 69-80).
Alinari/Art Resource, NY. Retrieved from Oxford Art Onine
Canaletto, G. A. (1745). Ruined Bridge with Figures [oil on canvas]. Victoria
database. and Albert Museum. Retrieved from VADS database.
Heather, H. M. (2010). Designing Piranesi. Eigtheenth-Century Polanzani, F. (1750). Portrait of Piranesi as an antique sculpture. Collection
Life, 34(3) pp 36-40. Retrieved from Project MUSE. Wilton-Ely, J Privite Collection, New York. Piranesi as Architect and Designer.
By Wilton-Ely, J. Architecture and Design Library, Wellington, NZ
Encyclopedia Britannica. (n.d.) Neoclassicism. Retrieved from Parinesi. G. (1743). Roman Architecture-sculpture and ornament, selected
http://lilt.ilstu.edu/jhreid/neoclassicism.htm examples from Piranesi s monumental work. Central Saint Martins Museum
and study Collection, London. Retrieved from VADS database.
Icthinus, K. (447 BC – 432 BC). Parthenon. VUW Collection, Wellington, NZ.
Retrieved from artstor.
Piranesi, G. B. (1756). An Analysis of the Structure of the Mausoleum of Cecilia Metella
[Etching]. Rogers Fund. Retrieved from The Metropolitan Museum of Art database.
Adams, R (158-67). The Croome Court Tapestry Room [Plaster,
Pine, Mahogany, Bronze-gilt, Marble, Lapis Lazuli, Steel, and
Tapestry}. Samuel H. Kress Foundation. Retrieved from
The Metropolitan Museum of Art database.

17. Credit.
Presenters:
Jess Sehnert, Hugh Inkster, Alexandre Bannwarth, Regan Petrie
Organisation:
Regan Petrie
Making of Slideshow:
Jess Sehnert, Hugh Inkster, Alexandre Bannwarth, Regan Petrie
Content:
Jess Sehnert – Background, studies, family death.
Hugh Inkster – Work, Became famous for.
Regan Petrie – Style
Alexandre Bannwarth - Influence