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Justly renowned as one of the finest printmakers of the eighteenth century, Giovanni Battista Piranesi (1720-1778) is best known for his etched views of Rome and its antiquities, as well as for his highly influential suite of drawings entitled Carceri, or Imaginary Prisons. Trained as an architect, Piranesi revolutionized architecture and design through his combination of decorative elements and ornamental motifs from the Egyptian, Etruscan, Greek and Roman styles; yet his work as the designer of interiors and furnishings has been largely uncelebrated until now. Published in conjunction with a major exhibition at the Smithsonian's Cooper-Hewitt, National Design Museum, in 2007, Piranesi as Designer features ten accessible essays and more than 300 rare illustrations that explore the far-reaching impact of Piranesi's style on three centuries of architecture and design.

The most famous 18th-century copper engraver, Giovanni Battista Piranesi (1720–1778) made his name with etchings of ancient Rome. His startling, chiaroscuro images imbued the city’s archaeological ruins with drama and romance and became favorite souvenirs for the Grand Tourists who traveled Italy in pursuit of classical culture and education.Today, Piranesi is renowned not just for shaping the European imagination of Rome, but also for his elaborate series of fanciful prisons, Carceri, which have influenced generations of creatives since, from the Surrealists to Samuel Taylor Coleridge, Edgar Allan Poe, Jorge Luis Borges, and Franz Kafka.Loosely based on contemporary stage sets rather than the actual dingy dungeons of Piranesi’s day, these intricate images defy architectural reality to play instead with perspective, lighting, and scale. Staircases exist on two planes simultaneously; vast, vaulted ceilings seem to soar up to the heavens; interior and exterior distinctions collapse. With a low viewpoint and small, fragile figures, the prison scenes become monstrous megacities of incarceration, celebrated to this day as masterworks of existentialist drama.

Piranesi’s fantastic worlds: The great 18th century architectural artist and master engraver   “Piranesi was as savage as Salvator Rosa, fierce as Michelangelo, and exuberant as Rubens... he has imagined scenes that would startle geometry and exhaust the Indies to realize.” —Horace Walpole One of the greatest architectural artists of all time, and certainly the most famous copper engraver of the 18th century, Giovanni Battista Piranesi (1720-1778) is best known for his terrifyingly original series of etchings of labyrinthine and megalomaniac prisons, Carceri d’Invenzione. In his own day, he was most celebrated for his Vedute, 137 etchings of ancient and modern Rome; so renowned were these startling and dramatic chiaroscuro images, imbued with Piranesi’s romantic feeling for archaeological ruins, that they formed the mental picture of Rome for generations after. Indeed, Piranesi could be said to have shaped a whole strain of contemporary architecture, as well as the wider visualization of antiquity itself. In our time, he has had a direct influence on writers such as Borges and Kafka and on filmmakers such as Terry Gilliam and Peter Greenaway. Anyone who contemplates Piranesi’s etchings will confront the existential nightmare of human existence and its infinite mysteries.   Text in English, French, and German

Piranesi: Early Architectural Fantasies, a Catalogue Raisonne of the Etchings

Piranesi: Early Architectural Fantasies, a Catalogue Raisonne of the Etchings

Unread book in perfect condition.

Giovanni Battista Piranesi was one of the most important artists eighteenth-century Europe produced. But Piranesi was more than an artist; he was an engraver and printmaker, architect, antiquities dealer, archaeologist, draftsman, publisher, bookseller, and author. In Piranesi’s Lost Words, Heather Hyde Minor considers Piranesi the author and publisher, focusing on his major publications from 1756 to his death in 1778. Piranesi designed and manufactured twelve beautiful, large-format books combining visual and verbal content over the course of his lifetime. While the images from these books have been widely studied, they are usually considered in isolation from the texts in which they originally appeared. This study reunites Piranesi’s texts and images, interpreting them in conjunction as composite art. Minor shows how this composite art demonstrates Piranesi’s gift for interpreting the classical world and its remains—and how his books offer a critique of both the Enlightenment project of creating an epistemology of the classical past and how eighteenth-century scholars explicated this past. Piranesi’s books, Minor argues, were integral to the emergence of the modern discipline of art history. Using new, previously unpublished archival material, Piranesi’s Lost Words refines our understanding of Piranesi’s works and the eighteenth-century context in which they were created.

COOPER-HEWITT COLLECTIONRenowned as one of the finest printmakers of the eighteenth century, Giovanni Battista Piranesi is best known for his etched views of Rome and its antiquities, as well as for his highly influential suite of drawings entitled Carceri, or Imaginary Prisons. Trained as an architect, Piranesi revolutionized architecture and design through his combination of decorative elements and ornamental motifs from the Egyptian, Etruscan, Greek, and Roman styles; yet his work as the designer of interiors and furnishings has been largely uncelebrated. Published in conjunction with a major exhibition at the Smithsonian s Cooper-Hewitt, National Design Museum, Piranesi as Designer explores the far-reaching impact of Piranesi s modernist style on three centuries of architecture and design.

From Library Journal: This is the first modern scholarly catalogue raisonne of the early etchings of Giovanni Battista Piranesi, an important 18th-century architectural illustrator whose publications continue to haunt the minds of architects. It is a scholarly achievement of major import by the world's acknowledged authority on the subject, the curator of prints at the National Gallery in Washington. In addition to the catalogue itself, there is a chapter on watermarks which should help to date specific impressions and a 60-page scholarly account of Piranesi's life and publications. This book provides scholarly background to Rosalind Bacou's short monograph on the artist, Piranesi: etchings and drawings (1975) and Robison's catalog, Giovanni Battista Piranesi: the early architectural fantasies (1978). Peter Kaufman, Suffolk Community Coll. Lib., Selden, N.Y. Copyright 1986 Reed Business Information, Inc. "About this title" may belong to another edition of this title.

The work of Italian printmaker Giovanni Battista Piranesi (1720–1778) has captivated artists, architects and designers for centuries. Although contemporary Australia is a long way from eighteenth-century Rome, it is home to substantial collections of his works, the largest being at the State Library of Victoria and the University of Melbourne. The Piranesi Effect is a collection of exquisitely illustrated essays on the impact of Piranesi’s work throughout the years. The book brings together Australian and international experts who investigate Piranesi’s world and its connections to the study of art and the practice of artists today. From curators and art historians, to contemporary artists like Bill Henson and Ron McBurnie, the contributors each bring their own passion and insight into the work of Piranesi, illuminating what it is about his work that still inspires such wonder.

Giovanni Battista Piranesi was one of the most important artists eighteenth-century Europe produced. But Piranesi was more than an artist; he was an engraver and printmaker, architect, antiquities dealer, archaeologist, draftsman, publisher, bookseller, and author. In Piranesi’s Lost Words, Heather Hyde Minor considers Piranesi the author and publisher, focusing on his major publications from 1756 to his death in 1778. Piranesi designed and manufactured twelve beautiful, large-format books combining visual and verbal content over the course of his lifetime. While the images from these books have been widely studied, they are usually considered in isolation from the texts in which they originally appeared. This study reunites Piranesi’s texts and images, interpreting them in conjunction as composite art. Minor shows how this composite art demonstrates Piranesi’s gift for interpreting the classical world and its remains—and how his books offer a critique of both the Enlightenment project of creating an epistemology of the classical past and how eighteenth-century scholars explicated this past. Piranesi’s books, Minor argues, were integral to the emergence of the modern discipline of art history. Using new, previously unpublished archival material, Piranesi’s Lost Words refines our understanding of Piranesi’s works and the eighteenth-century context in which they were created.

A renowned scholar examines the beauty and impact of drawings and prints by Piranesi, as well as the Italian architect's relationship with his friend and colleague Sir John Soane. An 18th-century architect and printmaker, Giovanni Battista Piranesi was a lifelong champion of Rome, publishing more than 1,000 etchings of the Eternal City and its ancient monuments. Piranesi's English contemporary Sir John Soane was also an architect specializing in the neoclassical style. When the two artists met, they formed a profound and complex creative and intellectual relationship that nurtured Soane's later career. Among Soane's greatest legacies is the London museum that bears his name, and some of its most important holdings are a number of preparatory drawings Piranesi developed for a publication on the Greek temples at Paestum. These drawings are accomplished examples of Piranesi's topographical observation and great works of art in their own right. This book offers exquisite reproductions of the drawings as well as 30 additional works from Piranesi's oeuvre. Together they offer a unique understanding of early Greek classical architecture seen through the work of an 18th-century master.

Numerous illustrations in color and black and white. ; Tight, clean and crisp. In excellent condition. No inscriptions. No remainder mark. Not ex-library. ; A renowned scholar examines the beauty and impact of drawings and prints by Giovanni Battista Piranesi, as well as the Italian architect's relationship with his friend and colleague Sir John Soane. This book offers exquisite reproductions of the drawings as well as 30 additional works from Piranesi's oeuvre. ; 8vo 8" - 9" tall; 72 pages

A renowned scholar examines the beauty and impact of drawings and prints by Piranesi, as well as the Italian architect's relationship with his friend and colleague Sir John Soane. An 18th-century architect and printmaker, Giovanni Battista Piranesi was a lifelong champion of Rome, publishing more than 1,000 etchings of the Eternal City and its ancient monuments. Piranesi's English contemporary Sir John Soane was also an architect specializing in the neoclassical style. When the two artists met, they formed a profound and complex creative and intellectual relationship that nurtured Soane's later career. Among Soane's greatest legacies is the London museum that bears his name, and some of its most important holdings are a number of preparatory drawings Piranesi developed for a publication on the Greek temples at Paestum. These drawings are accomplished examples of Piranesi's topographical observation and great works of art in their own right. This book offers exquisite reproductions of the drawings as well as 30 additional works from Piranesi's oeuvre. Together they offer a unique understanding of early Greek classical architecture seen through the work of an 18th-century master.

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Piranesi is arguably one of the greatest artists of architecture - of spaces both real and imagined. From the Veduti di Roma to the Carceri this is a collection of the work of the most famous copper engraver of the 18th century.

Piranesi is arguably one of the greatest artists of architecture - of spaces both real and imagined. From the Veduti di Roma to the Carceri this is a collection of the work of the most famous copper engraver of the 18th century.

Gut/Very good: Buch bzw. Schutzumschlag mit wenigen Gebrauchsspuren an Einband, Schutzumschlag oder Seiten. / Describes a book or dust jacket that does show some signs of wear on either the binding, dust jacket or pages.

The Barnes & Noble Exclusive Edition with sticker to front panel. Full number line 1-10. In black boards with copper foil design motif of columns to boards and spine. Corners and spine ends bumped. Interior clean and binding tight - obviously unread. Jacket is unclipped and nice with minimal edgewear. 1st Printing

LIKE NEW/UNREAD!!! Text is Clean and Unmarked! Has a small black line or red dot on the bottom/exterior edge of pages.