Veduta del Pantheon di Agrippa
| Reference: | S46570 |
| Author | Luigi ROSSINI |
| Year: | 1820 |
| Zone: | Pantheon |
| Printed: | Rome |
| Measures: | 650 x 470 mm |
| Reference: | S46570 |
| Author | Luigi ROSSINI |
| Year: | 1820 |
| Zone: | Pantheon |
| Printed: | Rome |
| Measures: | 650 x 470 mm |
Description
A nice view taken from the Antichità Romane, set of 101 plates, realized with the proceeds of the sale of the plates used for Raccolta di cinquanta principali vedute di antichità tratte dai scavi fatti in Roma in questi ultimi tempi, published in 1817.
This is the work with which the artist wanted to become one of the most important artists in the Roman cultural life; we can state that if we consider the size of the work and the subject he choose.
In this work Rossini tested himself with his predecessor, G. B. Piranesi, who was considered as a point of reference when it came to ancient views and originality. Rossini, was deeply influenced by Piranesi, as it can be seen in the title, the legends, the same points of views and framing. Another important element he took from Piranesi is the use of light and the contrast of chiaroscuro. In these plates Rossini reached the higher mastery of the technique, realizing also extremely particular framings and a new and complex organization of the space. In the plates quite common is the diagonal view of the subject, which gave him the possibility to elaborate more the chiaroscuro.
The will to give life to his views, the reinstatement of the monuments to their historic context and the fact that he was not good with figures, brought Rossini to start a partnership with Bartolomeo Pinelli, Roman engraver and costume illustrator of daily life. He was the one who realized the figures of Rossini’s views. Sometimes Pinelli took the subjects from his previous collection Costumi pittoreschi romani.
Etching, printed on contemporary paper, good condition.
Luigi ROSSINI (Ravenna 1790 - Roma 1875)
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After training at the Academy of Fine Arts in Bologna, where he studied the engraver Francesco Rosaspina and the painter of decorations Antonio Basoli, in 1813 he won the prize of theRegno Italico for architecture, consisting of a board of three years in Rome at Palazzo Venezia, decisive for his artistic career. Here he realized that his attempts to act as architect failed, discovering instead the engravings of Giovanni Battista Piranesi and, through the work of the great Venetian engraver, he is part of the artistic tradition of engraved view. In 1817 Rossini publishes Frontespizio delle antichità di Roma divise in 40 vedute disegnate dal vero dall'architetto Luigi Rossini, that later reprint with the addition of new plates. In those years he also began working with Bartolomeo Pinelli, which will populate the views by Rossini with his distinctive characters. The fruitful relationship between the two artists will continue until the death of Pinelli took place in 1835. Between 1819 and 1823 he engraved, in 101 tables,Le Antichità Romane ossia raccolta delle più interessanti vedute di Roma antica, disegnate ed incise dall'architetto Luigi Rossini. Between 1824 and 1826 Rossini engraved the etchings Le Antichità dei contorni di Roma, and, two years later, publishes I monumenti più interessanti di Roma dal decimo secolo fìno al secolo decimottavo. In 1829 he returns to his favorite themes of antiquity etchings luce Le porte e le mura del recinto di Roma in 35 tavole. In 1837, Rossini was appointed member of theAcademy of Fine Arts of San Luca, which then become academic merit in 1843.
In 1839 he published Viaggio pittoresco da Roma a Napoli in 80 vedute, a sort of modern tourist guide. He died in Rome on 22 April 1875, after an illness that had forced him to bed paralyzed for five years.
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Luigi ROSSINI (Ravenna 1790 - Roma 1875)
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After training at the Academy of Fine Arts in Bologna, where he studied the engraver Francesco Rosaspina and the painter of decorations Antonio Basoli, in 1813 he won the prize of theRegno Italico for architecture, consisting of a board of three years in Rome at Palazzo Venezia, decisive for his artistic career. Here he realized that his attempts to act as architect failed, discovering instead the engravings of Giovanni Battista Piranesi and, through the work of the great Venetian engraver, he is part of the artistic tradition of engraved view. In 1817 Rossini publishes Frontespizio delle antichità di Roma divise in 40 vedute disegnate dal vero dall'architetto Luigi Rossini, that later reprint with the addition of new plates. In those years he also began working with Bartolomeo Pinelli, which will populate the views by Rossini with his distinctive characters. The fruitful relationship between the two artists will continue until the death of Pinelli took place in 1835. Between 1819 and 1823 he engraved, in 101 tables,Le Antichità Romane ossia raccolta delle più interessanti vedute di Roma antica, disegnate ed incise dall'architetto Luigi Rossini. Between 1824 and 1826 Rossini engraved the etchings Le Antichità dei contorni di Roma, and, two years later, publishes I monumenti più interessanti di Roma dal decimo secolo fìno al secolo decimottavo. In 1829 he returns to his favorite themes of antiquity etchings luce Le porte e le mura del recinto di Roma in 35 tavole. In 1837, Rossini was appointed member of theAcademy of Fine Arts of San Luca, which then become academic merit in 1843.
In 1839 he published Viaggio pittoresco da Roma a Napoli in 80 vedute, a sort of modern tourist guide. He died in Rome on 22 April 1875, after an illness that had forced him to bed paralyzed for five years.
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