|Artist||Giovanni Battista Piranesi|
|Published||Presso L'autore a Strada Felice nel Palazzo Tomati vicino alla Trininà de monti. A paoli due e mezzo. Gio. Batta. Piranesi F. [Rome 1754]|
|Dimensions||Image 382 x 610 mm, Plate 405 x 620 mm, Sheet 535 x 700 mm|
A view of the Salarian Bridge from the Vedute di Roma. The bridge was probably constructed during the 1st century BC, though the distinctive fortified tower was not added until around the 8th century AD. The bridge takes its name from the Via Salaria, the main Roman road to the Adriatic Coast. Piranesi's view of the bridge is important, as barely 40 years later, the balustrade and dedicatory inscription were torn down by invading Napoleanic troops, and in 1829, the tower was demolished. The rest of the bridge was dynamited in 1867 and a new bridge constructed.
The Vedute di Roma was Piranesi's most popular and best known series, celebrating the churches, monuments, ruins, bridges, fountains, and public spaces of the city of Rome. The immense popularity of the series meant that they were in constant demand, and Piranesi continued to reissue and add to the series from the 1740s until his death in 1778. The Vedute were particularly popular with British grand tourists, and had a profound effect on the British neoclassical movement. Demand was such that the series was reprinted numerous times after Piranesi's death, including two Paris editions published by his sons, Francesco and Pietro.
Giovanni Battista (also Giambattista) Piranesi (1720 – 1778) was an Italian artist famous for his etchings of Rome and of fictitious and atmospheric "prisons" (the Carceri d'Invenzione). He was a major Italian printmaker, architect and antiquarian. The son of a Venetian master builder, he studied architecture and stage design, through which he became familiar with Illusionism. During the 1740's, when Rome was emerging as the centre of Neoclassicism, Piranesi began his lifelong obsession with the city's architecture. He was taught to etch by Giuseppe Vasi and this became the medium for which he was best known.
Hind 31. ii/v (2nd Rome edition), Wilton-Ely 180, F744, C739.
Condition: Clean and bright impression, light dirt build-up and creasing to margins, not affecting plate or image. Framed in a gold leaf frame.