All of these images share subject matter, technique, artistic style, and similar use of media with the artwork being examined.Īs an engraver, Piranesi was well-known for his expansive, Italian architectural scenes. Additional sketches and drawings by the artist were found in the National Archives of Scotland and in the British Museum digital archives. ![]() A digital search of the National Gallery of Art found at least 21 original Piranesi drawings. The unusual subject matter and the artist’s distinctive technique, style and choice of media - including the type of paper that was used – suggests this could be a sketch by the 18th century Italian artist, Giovanni Battista Piranesi. Visual examination of the paper can not precisely set a date of manufacture however, from both it’s patina and construction, we identify it as being similar to paper found on drawings made by European “Old Masters”. Finally, detailing in black ink applied by pen was done to further define the image. Additionally, a neutral medium grey, a lighter rose toned gray and an opaque medium/light grey were also used. Four distinct washes were applied by brush including a dark warm grey applied to the shadows. A microscopic examination of the work indicates that graphite pencil was first laid down as an outline then, the artist “blocked” in further details in black ink using both pen and brush. In some areas, graphite pencil is also visible. "Artwork is an original architectural sketch done on quality rag paper in pen and brush using warm black and sepia toned inks and washes. "EF" are the initials of noted architect and collector of old master drawings Edmond Fatio (Swiss, 1871-1959)Ī full copy of this assessment is available upon request ![]() The interior of the basilica of Saint Paul outside the walls shows its frescoes, papal portraits, and imperial Roman marble columns.Ink and wash on paper, framed under glass These two belong to the Vedute di Roma series begun in the late 1740s. In Rome, Piranesi became obsessed with depicting both the ancient and modern city, devoting himself to careful measurement before creating his monumental views. ![]() His first imaginary works, the Carceri d’invenzione, which incorporated Roman architectural ideas into fantastic settings, date from 1745, when he was still in Venice, and prepared his way in the Roman printmaking world. The city captivated his imagination, and he settled there permanently in 1747. At the age of twenty, he traveled to Rome in the company of the Venetian ambassador, and during his first three years in the city he learned etching and engraving. Born on the terra ferma near Venice, he was trained as an architect but rarely practiced only one late church survives. One of the most important Italian printmakers of the 18th century, Giovanni Battista Piranesi concentrated on rendering ancient, modern, and even imaginary buildings. Paolo fuori delle mura”, 1749, etching on laid paper, signed Piranesi fecit in the plate, 41.2 x 60 cm, with broad margins along platemarks. (Mogliano 1720-1778 Rome) “Spaccato interno della Basilica di S. Giovanni Battista Piranesi Spaccato Interno Della Basilica Di Paolo Fuori Mura
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