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Piranesi was born in Mogliano Veneto, Italy, on October 4, 1720. His father was a stonemason and master builder. Giovanni Battista Piranesi had a brother, Andrea. Piranesi's uncle, Matteo Lucchesi, was a leading architect in Magistrato delle Acque, the state organization responsible for engineering and restoring historical buildings.
During his early years, Giovanni Battista Piranesi studied stage design and complicated systems of perspective composition. Piranesi's prints and drawings reveal his talent for combining dramatic perspectives and architectural fantasies. At the age of twenty, Piranesi started his studies under Giuseppe Vasi, who introduced him to the art of engraving and etching of the city and its monuments. Giuseppe Vasi was the person who found out that Piranesi's talent was beyond engraving. Vasi told Piranesi that "you are too much of a painter, my friend, to be an engraver." After his studies with Vasi, he collaborated with pupils of the French Academy in Rome to produce a series of views of the city; his first work was Prima parte di Architettura e Prospettive (1743), followed in 1745 by Varie Vedute di Roma Antica e Moderna.
At the age of 20 Piranesi went to Rome as a draftsman for Marco Foscarini, the Venetian ambassador of the new Pope Benedict XIV. Between 1743 and 1747 he regularly visited Venice. It's believed that there Giovanni Battista Piranesi often visited Giovanni Battista Tiepolo, an outstanding artist of Venice. In 1745 Piranesi settled permanently in Rome. It was during this period that he developed his highly original etching technique, producing rich textures and bold contrasts of light and shadow by means of intricate, repeated bitings of the copperplate.
In 1745 Giovanni Battista Piranesi's first real success came with his Carceri d'invenzione, or Imaginary Prisons, 16 large plates that are often viewed as the artist's masterpieces. Later, when Piranesi reworked his copperplates, he made the shapes sharper and darker.
Piranesi's next undertaking was to perpetuate the ancient Rome ruins. It was supposed to be the main project of his life. In 1756, after some intensive archeological studies, where he used his knowledge of civil engineering, Piranesi published his work Roman Antiquities. It consisted of four huge volumes comprising over 200 folio plates. In the year 1761 he opened a printing facility of his own and the following year the collection of engravings titled Campo Marzio dell'antica Roma was printed.
In 1763 Giovanni Battista Piranesi was entrusted by Pope Clement XIII to restore the choir of San Giovanni in Laterano, however, this project was not implemented. The only architectural work Piranesi made was for Cardinal Giovanni Battista Rezzonico, Grand Prior of the Knights of Malta. He remodeled the church St. Maria del Priorato that belonged to that order. The system of ornamentation that Piranesi invented for the church he elaborated and disseminated through a new set of engravings that he published under the title Diverse Manners of Ornamenting...Houses (1769). A generation later, it became the basis for the style known as Empire. In 1776 he created his widely known work the Piranesi Vase. Piranesi published Avanzi degli Edifici di Pesto (Remains of the Edifices of Paestum) in 1777-1778.
Throughout most of his adult life, Piranesi made numerous etchings of views of the city; not only its antiquities, such as the Pantheon, but also its contemporary masterpieces such as the Piazza Navona and Capitoline. The scenes were animated with tiny, frail, fluttering figures. On November 9, 1778, while making drawings of the newly discovered temples at Paestum, Piranesi died.
One of the greatest printmakers of the eighteenth century, Giovanni Battista Piranesi made a significant contribution to the art world. He was famous for his etching. His most notable work was Le Carceri d'Invenzione as well as etchings of Rome. His highly original designs and ideas influenced many artists and literary figures during and beyond his lifetime.
Today, the painter's artworks are presented in numerous institutions around the world, including the Art Institute of Chicago, the Hermitage Museum in St. Petersburg, the Getty Museum in Los Angeles, and the Rijksmuseum in Amsterdam.
Besides the artist was widely known for his writings. For instance, his prominent work, Roman Antiquities, won him immediate and widespread fame. In 1767 he was made a knight of the Golden Spur, which enabled him henceforth to sign himself "Cav[aliere] Piranesi".
The Roman antiquities, t. 1, Plate XXI. Arch of Janus.
Altrorilievo other side of the pedestal (two branches)
Ancient marble Altar in the palace of the Farnesina
The Roman antiquities, t. 1, Plate XXIV. Celio o Oppio. The Seven Halls. Baths of Trajan.
Ancient temple commonly known as the Health on the Way at Albano, five miles distant from Rome
Ancient mausoleum erected to the ashes of a Roman Emperor
The Roman antiquities, t. 1, Plate XXII. Cloaca Maxima.
The Roman antiquities, t. 2, Plate XXXIV. Grand marble urn believed to Alexander Severus and his mother Julia Mamea (figures carved from Barbault).
The Roman antiquities, t. 2, Plate XIV. Inscriptions and fragments of the burial chambers of the Family Arrunzia (figures carved from Barbault).
The Roman antiquities, t. 2, Plate XVIII. Inscriptions and fragments of the burial chamber above.
Ancient marble urn in the garden of the Quirinal
A frieze with architrave, column, two capitals, a bed, a shelf and two terracotta
The Roman antiquities, t. 1, Plate XXXI. Temple of Antonius and Faustina.
Antique vase of marble decorated with festoons and various plots of funds
Aforesaid Section of the house
Another interior view of the Villa of Maecenas at Tivoli
Ancient representing a plastic chariot circus at the turn of the destinations (inc F Piranesi)
The Roman antiquities, t. 2, Plate XXVII. Plan of a factory tomb outside Porta Maggiore in a vineyard next to Tower Pignataro.
Another View of the Temple in the city of Paestum, believed dedicated to Juno
According to Cover Up the papal coat of arms, under a large cartouche garlanded with a dedication to Pope Clement XIII
Another perspective view and details of the Doric Temple
Antinous
The Roman antiquities, t. 1, Plate XXIV. Nero's aqueduct.
The Roman antiquities, t. 2, Plate XVII. Burial Chamber just steps away from the family of L. Arrunzio.
Ancient temple invented and designed in the manner of those that were manufactured in honor of the goddess Vesta (recorded in 1743)
The Roman antiquities, t. 2, Plate XVIX. Inscriptions and fragments of the burial chamber above.
The Roman antiquities, t. 1, Plate XXXVII. View of Flavian Amphitheatre and the Colosseum.
Antique vase of marble great deal in the Palace of the Villa Borghese
The Roman antiquities, t. 1, Plate XXVII. The Seven Halls.
The Roman antiquities, t. 1, Plate XXXIV
Ancient monument topped by Cornucopia's head Boar in the Vineyard Cenci Capo di Bove
The Round Tower, plate III from 'Carceri d'Invenzione'
The Roman antiquities, t. 2, Plate XXXIII. Insight into the tomb of Alexander Severus.
A capital and a base (inc F Piranesi)
Ancient marble bas-relief in the Museo Borgia existing Velletri (inc F Piranesi)
The Roman antiquities, t. 1, Plate XXXV
Antique vase of basalt found on the Quirinal in 1772
The Roman antiquities, t. 1, Plate XXII. Temple of Cybele.
The Blessed Virgin with Saints Peter and Paul, by Guercino
The Roman antiquities, t. 1, Plate XXXIII. Veduta with ruins of Nero's Golden House.
The Roman antiquities, t. 1, Plate XXXII. Ruins of the pronaos of the temple of Jupiter the Thunderer.
The Roman antiquities, t. 2, Plate VI. Following the above table.
Ancient school engineered by Egyptian and Greek
Title page: Collection of several drawings engraved after Barbieri da Cento (known as Guercino) engraved on copper and presented to Thomas Jenkins, painter and member of the Academy of St. Luke, out of respect and friendship from his fellow member, the architect Gio. Battista Piranesi
A chest of drawers, a side of the sedan, a decorative vase and various ornamental motifs
A table on the wall with two Satyrs, a pndola, two watches, two vases, candlesticks wall and table ornaments
The Roman antiquities, t. 1, Plate IV. Map of ancient Rome and Forma Urbis.
A view of the remains of two Triclinj who belonged to Nero's Golden House
The Roman antiquities, t. 2, Plate XXXVI. Hips and split of the urn itself (figures carved from Barbault).
Another view of the same side of the Trophy
Adoration of the Magi
The Roman antiquities, t. 2, Plate X. View of the entrance of the burial chamber of L. Arrunzio and his Family
The Roman antiquities, t. 2, Plate V
Altar dedicated to Apollo found in the Villa of Pompey the Great in Albano
The Roman antiquities, t. 1, Plate V. Map of ancient Rome and Forma Urbis.
The Roman antiquities, t. 2, Plate XXXVIII. Cutaway view of the tomb before.
The Roman antiquities, t. 1, Plate I.
Another view of the ruins of the pronaos of the Temple of Concord
The Roman antiquities, t. 1, Plate XXV. Nero's aqueduct.
The Roman antiquities, t. 2, Plate XIII. Ornaments in stucco, existing in the Time of the burial chamber of L. Arrunzio.
The Roman antiquities, t. 2, Plate XLI. External view of the three rooms before burial.
The Roman antiquities, t. 2, Plate XL. View of a tomb oldest existing bridge in a vineyard near Lugano.
The Roman antiquities, t. 1, Plate XXXI. Arch of Septimius Severus.
The Roman antiquities, t. 2, Plate XXXI. Fragment of stucco gouged by the time of Nicchioni is one of the interior of the factory before burial.
The Roman antiquities, t. 2, Plate XXIX. View of the Tomb of the Scipios believed outside Porta S. Sebastiano.
The Roman antiquities, t. 1, Plate XXVIII. Baths of Diocletian.
Arco di Settimio Severo
The Roman antiquities, t. 1, Plate XXX. Forum Nervae.
The Roman antiquities, t. 2, Plate XX. Inscriptions and fragments of the burial chamber above.
The Roman antiquities, t. 1, Plate XX. Ponte Rotto.
The Roman antiquities, t. 2, Plate XXIV. Columns with their capitals, architrave, frieze and cornice existing under the arches inside the Mausoleum of Constance.
The Roman antiquities, t. 2, Plate XXVI. Previous cross-section of large urn and other details.
Antique vase of clay, which is seen in the collection designed by Pirro Ligorio in the Vatican Library
Another extension as above
Another view of the Temple of the Sibyl at Tivoli
The Roman antiquities, t. 2, Plate XXXVII. Plan and elevation of a tomb located on the ancient Via Appia near the Vineyard Buonamici.
Amphitheater of Pula in Istria near the sea
A Sacrifice
The Roman antiquities, t. 1, Plate XXXVIII
The Roman antiquities, t. 1, Plate XXV. Santo Stefano Rotondo.
The Roman antiquities, t. 1, Plate XXX. Forum Nervae.
Ancient altar, with other ruins
The Roman antiquities, t. 1, Plate XXIII. Aventine Hill.
The Roman antiquities, t. 1, Plate IX. Aurelian Walls.
The Roman antiquities, t. 1, Plate XXXII
Antique vase of marble (Villa Albani)
The Roman antiquities, t. 2, Plate XXXV. Rear of the previous special urn.
The Roman antiquities, t. 1, Plate XXIX. Trajan's Column.
The Roman antiquities, t. 1, Plate XXXVI. Veduta with ruins of the Peristyle House of Nero.
Apollo Belvedere
St. Jerome in the act of contemplating the crucifix, by Guercino
Ancient Roman Forum surrounded by arcades, with loggias
Apollo and Silenus
The Roman antiquities, t. 1, Plate XXXVIII. Plate of topography of Rome.
A chimney top, and bottom wall two tables, the inf on a sheet of paper
The Roman antiquities, t. 2, Plate XXI. Urn of marble found in the burial chamber above (figures carved from Barbault).
Amphitheatre of Verona
Portrait of Raffaele Lanzio da Vitine
The Roman antiquities, t. 2, Plate IV. Plan and elevation of the 'surplus of wall in the tomb of C. Poblicio at the foot of the Capitol in a place called Macel de 'Corvi.
The Roman antiquities, t. 2, Plate XXVIII. Plan, and elevation cross-section of the Tomb of the Scipios.
Ancient marble vase decorated with twisted stems of ivy, birds and scenic masks scherzanti
Another view in perspective of the previous candlestick
A marble plaque with the inscription: Roman Antiquities outside of Rome, drawn and engraved by Venetian architect Giambattista Piranesi, Part Two
A view of the progress of the Water Castle Julia from which the trophies were removed (this board brings the n 47 and is also part of Volume XVI)
The Roman antiquities, t. 1, Plate XX. Portico of Marcus Aemilius Lepidus and P. Aemilius Paulus.
The Roman antiquities, t. 2, Plate XVI. Inscriptions and fragments of the burial chambers of the Family Arrunzia (figures carved from Barbault)..
The Roman antiquities, t. 2, Plate IX. Plan of the burial chambers of 'Liberti, and Family L. Arrunzio.
Antique vase of marble representing the feats of Hercules, with the base representing a coffin
The Roman antiquities, t. 1, Plate III. Map of ancient Rome and Forma Urbis.
Aeolus seated on clouds
The Roman antiquities, t. 2, Plate XXIII. Remains of the great building burial added to the Mausoleum of Constance.
The Roman antiquities, t. 1, Plate XXXIX
Another view of the above and the column of granite pedestal
The Roman antiquities, t. 1, Plate XXVI. Arch of Gallienus.
A five-legged table, wall Matterhorn, surmounted by a clock between two decorative vases, two candelabra wall, two urns
Another view of the same tripod
The Roman antiquities, t. 1, Plate XXXV
A view of the surpluses above the Baths of Diocletian
The Roman antiquities, t. 1, Plate II. Map of ancient Rome and Forma Urbis.
Apollo
Ancient marble urn adorned with various symbols alluding to human life
Another vessel supported by tripod
The Roman antiquities, t. 1, Plate XXXIII. Ruins of the temple of Castor and Pollux.
The Roman antiquities, t. 2, Plate XV. Inscriptions and fragments of the burial chambers of the Family Arrunzia (figures carved from Barbault).
Apollo and Hyacinth
The Roman antiquities, t. 1, Plate XXIII. Aventine Hill.
Antique vase of marble decorated with ox skulls and garlands
The Roman antiquities, t. 1, Plate XXXVI
Amphitrite
Ancient marble urn vase with dogs and an owl flying buttresses, ribbed
The Roman antiquities, t. 1, Plate XX. Casa dei Crescenzi.
The Roman antiquities, t. 1, Plate XXXIV. Veduta with Arch of Titus.
Another extension as above
The Roman antiquities, t. 1, Plate XXVI. Aqua Julia.
The Roman antiquities, t. 2, Plate V
The Roman antiquities, t. 2, Plate XII. Prospectus and Profile of a tomb of the previous rooms
Antique vase of marble in the Villa Valenti at Porta Pia
A view of the progress of the Water Castle Julia
Another dancer, taken from a painting of ancient Pompeii
The Roman antiquities, t. 1, Plate XXVIII. "Baths of Titus" (really the Baths of Traianus).
The Roman antiquities, t. 2, Plate XXXIX. Plan and section of the three rooms of the family of Augustus believed burial.
The Roman antiquities, t. 2, Plate XXV. Large urn of porphyry, within which is believed to have been placed the body of Constance.
The Roman antiquities, t. 2, Plate XXXII. Plan and external view of the tomb of Alexander Severus located outside Porta S. John about a mile from the aqueducts.
Another view of the same
The Roman antiquities, t. 2, Plate XXX. Plan and elevation of a factory located not far from the burial Tower Slave.
The Roman antiquities, t. 2, Plate XXII. Plan of the Mausoleum of Constance.
Apollo, the dart body
Another view of the same scrap
The Roman antiquities, t. 2, Plate XLII. Interior view of one of the three rooms before burial.
Another view in perspective of the same Tripod
The Roman antiquities, t. 2, Plate XI. View of another part of burial chamber of L. Arrunzio
Another view of the Temple of the Sibyl at Tivoli
Antenna dark prison
The Roman antiquities, t. 2, Plate VII. Plan, cracked and facade of a tomb outside Porta S. Sebastian on the Via Appia in the Hamlet of S. Maria Nuova.
Antique vase of marble with kneeling figures drinking from hippogryphs, with chandeliers and a pedestal corner
The Roman antiquities, t. 1, Plate XXVII. "Baths of Titus" (really the Baths of Traianus).
Another view of the facade of the pronaos
Antique vase on a marble cinerary urn
Carceri VII
Allegory of Providence
Amazone
The Roman antiquities, t. 1, Plate XXIX. Trajan's Market.
The Roman antiquities, t. 2, Plate XLIII. Plan and elevation of a burial chamber.
The Roman antiquities, t. 2, Plate VIII. Entry of the burial chamber of L. Liberti and Family Arrunzio.
A tripod stand and a former
Altar and sacred furnishings of the Egyptian Temple
The Roman antiquities, t. 1, Plate XXXVIII
A tripod and two vessels
A table with the vessel wall rostrata, four clocks, two decorative vases, ornaments
A family in prayer
Quotations:
"I need to produce great ideas, and I believe that if I were commissioned to design a new universe, I would be mad enough to undertake it."
"They despise my modernity, Icondemn their modesty."
In 1757 Piranesi was made an honorary member of the Society of Antiquaries in London. In 1761 the Rome painters welcomed him into the Accademia di San Luca.
Quotes from others about the person
Hyatt Mayor: "Only a stage-struck engineer could have conjured up these endless aisles, these beams draped with tons of chain, these gangplanks teetering from arch to arch, these piers that stand like beacons for exploring loftiness and light. ... Piranesi rendered such more-than-Roman immensities like a true Venetian by letting his etching needle scribble and zigzag until it sketched areas of shade as translucent as a Guardi wash."
