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Piranesi, Giovanni Battista

(Italian, 1720–1778)

Works of Art (16)

An Analysis of the Structure of the Mausoleum of Cecilia Metella: From Antichità Romane, 1756, Giovanni Battista Piranesi (Italian), Etching, plate 49 of Antichità Romane, vol. 3, first edition (41.71.1.3.49)
Dark Prison ("Carcere Oscura"), after Piranesi, 1790s, Joseph Mallord William Turner (British), Watercolor over graphite (06.1051.3)
Egyptian Fireplace: From the Diverse maniere …, 1769, Giovanni Battista Piranesi (Italian), Etching (1973.509.8)

Painted Decoration of the Caffé Inglese, Rome: From the Diverse maniere …, 1769, Giovanni Battista Piranesi (Italian), Etching (41.71.1.20.46)
The Girandola at the Castel Sant'Angelo, ca. 1783, Francesco Piranesi (Italian) and Louis-Jean Desprez (French), Etching with hand-coloring (69.510)
Modo col quale furono alzati i grossi Travertini, e gli altri Marmi nel fabbricare il gran Sepolcro di Cecilia Metella, oggi detto Capo di Bove (The means by which the large travertine blocks and other marbles were lifted in the construction of the Great Tomb of Cecilia Metella, today called Capo di Bove): From Antichità Romane, 1756, Giovanni Battista Piranesi (Italian), Etching, plate 53 of Antichità Romane, vol. 3, first edition (41.71.1.3.53)
Newdigate Candelabrum: From Vasi, Candelabri, Cippi, Sarcofagi …, 1778, Giovanni Battista Piranesi (Italian), Etching (41.71.1.13.14)
The Octagonal Room in the Small Baths at the Villa of Hadrian (Tivoli): Study for Vedute di Roma, Dieta o sia luogo che da ingressoa diversi grandiosi Cubicoli, e ad altre magnifiche Stanze, esistente nella Villa Adriana, ca. 1777, Giovanni Battista Piranesi (Italian), Red chalk over black chalk or charcoal with partly ruled construction; sheet glued onto secondary paper support (1994.20)
Parte di ampio magnifico Porto all'uso degli antichi Romani (Part of a spacious magnificent harbor in the manner of the ancient Romans), ca. 1749–50, Giovanni Battista Piranesi (Italian), Etching, first state before caption plate (37.45.3.41)
Piazza del Popolo, ca. 1750, Giovanni Battista Piranesi (Italian), Etching (37.45.3.49)
The Portico of Octavia: From Vedute di Roma (Views of Rome), 1760, Giovanni Battista Piranesi (Italian), Etching (64.521.2)
The Round Tower: Plate 3 of Carceri, ca. 1749–60, Giovanni Battista Piranesi (Italian), Italian, Etching, engraving, sulphur tint or open bite, burnishing (37.45.3(27))
The Skeletons: From the Grotteschi, ca. 1748, Giovanni Battista Piranesi (Italian), Etching with engraving, drypoint, and burnishing, second state (37.45.3.38)
Various Roman Ionic capitals compared with Greek examples, from Julien-David Le Roy's Les ruines des plus beaux monuments de la Grèce (1758): Plate 20 of Della magnificenza ed architettura de' romani, 1761, Giovanni Battista Piranesi (Italian), Engraving (41.71.1.7.20)
Veduta del Mausoleo d'Elio Adraiano, ora chiamato Castello S. Angelo (View of the Mausoleum of Hadrian, now called the Castel S. Angelo): From Vedute di Roma (Views of Rome), ca. 1756, Giovanni Battista Piranesi (Italian), Etching, undescribed first state with address of Bouchard (55.567.6)
Veduta dell'Anfiteatro Flavio detto il Colosseo (View of the Flavian Amphitheater known as the Colosseum): From Vedute di Roma (Views of Rome), 1776, Giovanni Battista Piranesi (Italian), Etching, first state (59.570.426)
View of the Palazzo Mancini, Rome, 1752, Giovanni Battista Piranesi (Italian), Etching (41.71.1.16.29)