Fons e Conspectu Principis Portae Villae Pamphyliae
| Reference: | S48643 |
| Author | Giovanni Battista FALDA |
| Year: | 1680 ca. |
| Zone: | Villa Pamphili |
| Printed: | Rome |
| Measures: | 220 x 345 mm |
€130.00
| Reference: | S48643 |
| Author | Giovanni Battista FALDA |
| Year: | 1680 ca. |
| Zone: | Villa Pamphili |
| Printed: | Rome |
| Measures: | 220 x 345 mm |
€130.00
Description
View taken from the series Le Fontane di Roma, 1680 approx. Begun by Giovan Battista Falda in about 1667, the series was completed by Giovanni Francesco Venturini, who engraved - from his own drawings - the two series Le fontane del giardino estense in Tivoli and Le fontane ne' palazzi e ne' giardini di Roma con li loro prospetti et ornamenti, published by the Roman publisher G. G. De Rossi (about 1684) to complete the famous work.
Venturini was an engraver, born in Rome in 1650 and died after 1710. His name is especially linked to the two series of prints, drawn and engraved by him, Le fontane ne' palazzi e ne' giardini di Roma and Le fontane del giardino estense in Tivoli, con... view of the waterfall of the Aniene River, published by Giovanni Giacomo De Rossi, circa 1684, completing the celebrated work of G. B. Falda. Of his own invention are the engravings for the work on the Chiocciole by Filippo Buonanni. He collaborated on the collection Insignium Romae templorum prospectus, and other enterprises of intaglio publishing of the time. He also engraved by Polidoro da Caravaggio, Nasini, Domenichino (Hunting Diana) and others.
Etching, with margins, in good condition.
Bibliografia
TIB The Illustrated Bartsch - Commentary Volumes. 1978–, cat. n. 47 pt. 2 Commentary pp. 4-29, .005-.055; pp. 41-42, .077-080.
Giovanni Battista FALDA (Valduggia, Novara, 1643; Rome, 1678)
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Giovan Battista Falda, a native of Valduggia, was sent to Rome at the age of 14 and entrusted to the care of an uncle who pointed him out to Gian Lorenzo Bernini. But it was his meeting with printer Gian Giacomo De Rossi that marked a turning point in Falda's artistic career: in fact, his talent was directed by the publisher to the art of engraving. In De Rossi's workshop he could also appreciate the work of great engravers such as J. Callot, S. Della Bella and I. Silvestre; having completed his apprenticeship, he was benevolently received at the papal court, so much so that Alexander VII commissioned him to design the factories of the Castel Gandolfo residence. In 1665, Falda gave to the presses for the publisher De Rossi his masterpiece: the plates of the first book of the Nuovo Teatro delle fabbriche, et edificii, in prospettiva di Roma moderna sotto il felice pontificato di n. s. Alessandro VII, which was followed, between 1665 and '69, by the second and third. The work was intended to popularize the new image of Rome: the Pope, in fact, decided to open new streets, to embellish the city with fountains and monuments, also as a demonstration of the financial and cultural power of his family. With the Nuovo Teatro, as with the later collections devoted to fountains and palaces, Falda became the popularizer of these aspects; his engraved views, characterized by attention to both perspective rules and scenographic effects, skillfully exploit the vigor of line and the richness of the contrast between black and white, in keeping with the spatial criteria of Baroque art. The specifically popular and commercial aspect of the engraved views was skillfully exploited by the publisher De Rossi, who established an inseparable and effective partnership with Falda, to whom much of the printed production of the century in Rome was owed, with a fortune comparable only to that which would be paid to the work of Giovan Battista Piranesi. Falda's activity was tireless despite the brevity of the time span in which he worked (he died at the age of 35 on August 22, 1678 and was buried in S. Maria della Scala in Trastevere). By the end of his life he had engraved about 300 plates: many of these are preserved in Rome at the Calcografia nazionale.
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Giovanni Battista FALDA (Valduggia, Novara, 1643; Rome, 1678)
|
Giovan Battista Falda, a native of Valduggia, was sent to Rome at the age of 14 and entrusted to the care of an uncle who pointed him out to Gian Lorenzo Bernini. But it was his meeting with printer Gian Giacomo De Rossi that marked a turning point in Falda's artistic career: in fact, his talent was directed by the publisher to the art of engraving. In De Rossi's workshop he could also appreciate the work of great engravers such as J. Callot, S. Della Bella and I. Silvestre; having completed his apprenticeship, he was benevolently received at the papal court, so much so that Alexander VII commissioned him to design the factories of the Castel Gandolfo residence. In 1665, Falda gave to the presses for the publisher De Rossi his masterpiece: the plates of the first book of the Nuovo Teatro delle fabbriche, et edificii, in prospettiva di Roma moderna sotto il felice pontificato di n. s. Alessandro VII, which was followed, between 1665 and '69, by the second and third. The work was intended to popularize the new image of Rome: the Pope, in fact, decided to open new streets, to embellish the city with fountains and monuments, also as a demonstration of the financial and cultural power of his family. With the Nuovo Teatro, as with the later collections devoted to fountains and palaces, Falda became the popularizer of these aspects; his engraved views, characterized by attention to both perspective rules and scenographic effects, skillfully exploit the vigor of line and the richness of the contrast between black and white, in keeping with the spatial criteria of Baroque art. The specifically popular and commercial aspect of the engraved views was skillfully exploited by the publisher De Rossi, who established an inseparable and effective partnership with Falda, to whom much of the printed production of the century in Rome was owed, with a fortune comparable only to that which would be paid to the work of Giovan Battista Piranesi. Falda's activity was tireless despite the brevity of the time span in which he worked (he died at the age of 35 on August 22, 1678 and was buried in S. Maria della Scala in Trastevere). By the end of his life he had engraved about 300 plates: many of these are preserved in Rome at the Calcografia nazionale.
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