https://learningfrompiranesi.com/home daily 1.0 2026-01-06 https://images.squarespace-cdn.com/content/v1/600757ef1485f7235b52cc94/1e7db1c8-c150-47ef-9ec9-60bd98b169e3/Artboard+1.jpg https://images.squarespace-cdn.com/content/v1/600757ef1485f7235b52cc94/1615058184068-NSWFEJO620MJ6NYKRF2F/bosse%252B1%25255B17032%25255D.jpg Home - Antecedents: Representation and Calibration https://images.squarespace-cdn.com/content/v1/600757ef1485f7235b52cc94/1615058469970-87E9W1V2LXBFVYY2CAIE/caffe+degli+inglesi.jpg Home - Drawing on Life: A life of Drawing https://images.squarespace-cdn.com/content/v1/600757ef1485f7235b52cc94/1615059262189-HM1M97OPBGZ6M29FOR16/neholwossdrhv0n0erll.jpg Home - Le Vedute: Perspectival Views across Two Millennia https://images.squarespace-cdn.com/content/v1/600757ef1485f7235b52cc94/1615058702829-ARRIASCMNRQ2N7IXONJC/82e0a3f26bc328856b5628149db144f8.jpg Home - Disegno: Drawing-out Architecture through Construction https://images.squarespace-cdn.com/content/v1/600757ef1485f7235b52cc94/1615060744494-BLEZFOLJ694ARJSX7L9F/kuoif9qdhpzpimfszx2d.jpg Home - Fellows & Associate Fellows: The American Academy in Rome https://images.squarespace-cdn.com/content/v1/600757ef1485f7235b52cc94/1615060962665-438PB75EL8THONJNWKTQ/Lot%2B0029c.jpg Home - RETHINKING ARCHITECTURAL TECHNOLOGY: From Piranesi to Renzo Piano https://learningfrompiranesi.com/contact daily 0.75 2021-04-25 https://learningfrompiranesi.com/about daily 0.75 2023-02-22 https://images.squarespace-cdn.com/content/v1/600757ef1485f7235b52cc94/1619390239342-BPH9O0LKB4A5RZD8MP95/s200_george.dodds.jpg About https://learningfrompiranesi.com/work daily 0.75 2021-04-26 https://learningfrompiranesi.com/work/piranesitopiano monthly 0.5 2021-03-06 https://images.squarespace-cdn.com/content/v1/600757ef1485f7235b52cc94/fc1e315f-5fee-4fed-916e-47fe18fc895d/143226394_3737315913010754_8952431802853990810_n.jpg The Works - RETHINKING ARCHITECTURAL TECHNOLOGY: From Piranesi to Renzo Piano https://images.squarespace-cdn.com/content/v1/600757ef1485f7235b52cc94/05c7578b-bf8f-4daa-b108-faea20951b4f/143241314_3737317589677253_8617363070035525779_n.jpg The Works - RETHINKING ARCHITECTURAL TECHNOLOGY: From Piranesi to Renzo Piano https://images.squarespace-cdn.com/content/v1/600757ef1485f7235b52cc94/e55c3b5f-b15d-45ee-9123-7be0e641915e/143560740_3737317566343922_1959426944453735037_n.jpg The Works - RETHINKING ARCHITECTURAL TECHNOLOGY: From Piranesi to Renzo Piano https://images.squarespace-cdn.com/content/v1/600757ef1485f7235b52cc94/faf39150-4d75-4123-aebd-052012bd5f3f/143646005_3737317549677257_9172012265765232370_n.jpg The Works - RETHINKING ARCHITECTURAL TECHNOLOGY: From Piranesi to Renzo Piano https://images.squarespace-cdn.com/content/v1/600757ef1485f7235b52cc94/26f5ee78-af86-4e37-9e2e-86e8d05dc1be/143751195_3737317623010583_8975648280805514875_n.jpg The Works - RETHINKING ARCHITECTURAL TECHNOLOGY: From Piranesi to Renzo Piano https://images.squarespace-cdn.com/content/v1/600757ef1485f7235b52cc94/c5595b74-7544-4ae6-9069-16a865f6ad44/143973435_3737317543010591_43609031002040396_n.jpg The Works - RETHINKING ARCHITECTURAL TECHNOLOGY: From Piranesi to Renzo Piano https://learningfrompiranesi.com/work/fellowsandaar monthly 0.5 2021-03-06 https://images.squarespace-cdn.com/content/v1/600757ef1485f7235b52cc94/f7f09cca-e210-4c06-af1d-6dc2c5ad2438/Almost+Nothing.jpg The Works - Fellows & Associate Fellows The American Academy in Rome Gary R. Hilderbrand, FAAR 1995, FASLA “Almost Nothing” u.d. In Exhibition: CMYK on Matte Paper "Almost Nothing" was published in Composite Landscapes: Photomontage and Landscape Architecture (2015). Hilderbrand is the Hornbeck Professor in Practice at the Harvard GSD. https://images.squarespace-cdn.com/content/v1/600757ef1485f7235b52cc94/978d5476-bb59-4fdd-98f9-4690942e7780/141710653_3726311157444563_2598735154486024169_n.jpg The Works - Fellows & Associate Fellows The American Academy in Rome https://images.squarespace-cdn.com/content/v1/600757ef1485f7235b52cc94/193cb2cf-85f3-4439-a999-b39c3b183314/Glass+House+Reflections+2+sm.jpg The Works - Fellows & Associate Fellows The American Academy in Rome Gary R. Hilderbrand, FAAR 1995, FASLA “Glass House Reflections 2” u.d. In Exhibition: CMYK on Matte Paper “Glass House Reflections 2” was published in, Composite Landscapes: Photomontage and Landscape Architecture (2015). Hilderbrand is the Hornbeck Professor in Practice at the Harvard GSD. Gary R. Hilderbrand, FAAR 1995, FASLA https://images.squarespace-cdn.com/content/v1/600757ef1485f7235b52cc94/090ee8c5-4a97-4588-8555-bebb436043f2/GBP_15.jpg The Works - Fellows & Associate Fellows The American Academy in Rome https://images.squarespace-cdn.com/content/v1/600757ef1485f7235b52cc94/f94f348c-9171-4968-b2da-c2ea6d0e1b85/elkin.jpg The Works - Fellows & Associate Fellows The American Academy in Rome Rosetta Sarah Elkin, PhD, FAAR 2018, Garden Club of America Rome Prize “Formation of the Italian Stone Pine” (2018) (Pinus pinea) Descriptive Drawing, Rome Graphite on Vellum 40 in. x 47 in. From the Collection of The Arnold Arboretum, Harvard University https://images.squarespace-cdn.com/content/v1/600757ef1485f7235b52cc94/a5ffc571-9865-4bb5-81a4-b8825020571a/141759910_3726311520777860_3264723988913367344_n.jpg The Works - Fellows & Associate Fellows The American Academy in Rome https://images.squarespace-cdn.com/content/v1/600757ef1485f7235b52cc94/d151edcf-cd25-4e56-8283-d6b3ecce735e/emcFISHFARM.jpg The Works - Fellows & Associate Fellows The American Academy in Rome “Ostia Nuova Antica - Section at Fish Farms,” 2008 Digital Drawing, Rome, (2009) 14 in. x 25 in. (CMYK on Matte Paper) Similar to Ted Shelton and Tricia Stuth, during their residency at the Academy, Ursula and Michael spent a significant portion of their time working on an theoretical architectural proposal for an actual site – a tactic that’s a relatively new trend among fellows. https://images.squarespace-cdn.com/content/v1/600757ef1485f7235b52cc94/1235d4a4-0fbc-4d01-a8e3-4c671864b92c/GBP_16.jpg The Works - Fellows & Associate Fellows The American Academy in Rome https://images.squarespace-cdn.com/content/v1/600757ef1485f7235b52cc94/6034f8a2-7adc-43a7-98a1-efeb55d906ee/Striata.jpg The Works - Fellows & Associate Fellows The American Academy in Rome Gary R. Hilderbrand, FAAR 1995, FASLA "Striata” (1995) (Original Size: 11 3/16 in. x 10 in.) Cut paper on watercolor paper In Exhibition: CMYK on Matte Paper https://images.squarespace-cdn.com/content/v1/600757ef1485f7235b52cc94/05cd8381-2eca-4daa-8ffb-1d930827e839/143538972_3737319243010421_6372114449361988399_n.jpg The Works - Fellows & Associate Fellows The American Academy in Rome https://images.squarespace-cdn.com/content/v1/600757ef1485f7235b52cc94/a4678a64-c9d3-40f4-ae8e-98d5ae21dd07/Vegetus.jpg The Works - Fellows & Associate Fellows The American Academy in Rome Gary R. Hilderbrand, FAAR 1995, FASLA “Vegetus” (1995) 11 3/16 in. x 10 in. Cut paper on watercolor paper In Exhibition: CMYK on Matte Paper https://images.squarespace-cdn.com/content/v1/600757ef1485f7235b52cc94/867c9d81-33d5-4f04-9f2f-e6eddd1d0cd5/143769039_3737320756343603_7036323910867382276_n.jpg The Works - Fellows & Associate Fellows The American Academy in Rome https://images.squarespace-cdn.com/content/v1/600757ef1485f7235b52cc94/e2a9fcdf-dc9f-4627-9450-061408b3a1aa/MOE_Caracalla+plan-01+smaller.jpg The Works - Fellows & Associate Fellows The American Academy in Rome Kiel Moe, FAAR 2010 “Baths of Caracalla: Solar Reconstruction Study” Digital Drawing, Rome, (2014) 36 in. x 36 in. (CMYK on Matte Paper) Drawing produced during Visiting Residency in 2014 for his Moe’s book: Insulating Modernism: Isolated and Nonisolated Thermodynamics in Architecture, Birkhauser, 2015. Moe is currently the Gerald Sheff Chair in Architecture at McGill University, Montreal, Canada. https://images.squarespace-cdn.com/content/v1/600757ef1485f7235b52cc94/ea692ca3-3116-4f30-97ab-d03cd2a00448/143190444_3737320743010271_8638501471271313446_n.jpg The Works - Fellows & Associate Fellows The American Academy in Rome https://images.squarespace-cdn.com/content/v1/600757ef1485f7235b52cc94/22e3f5e9-589b-410c-bcd6-6218844a586a/Seven+Provocations+Shelton+Stuth+copy+smaller.jpg The Works - Fellows & Associate Fellows The American Academy in Rome Ted Shelton, AFAAR, FAIA & Tricia Stuth, AFAAR, FAIA, 2016 “Seven Provocations for Testaccio” Digital Drawing, Rome, (2016) 49 ¼ in. x 36 in. (CMYK on Matte Paper) Shelton and Stuth are two of four Affiliated FAARs among the UTK School of Architecture faculty, the others being Thomas K. Davis (1984) and, Hansjoerg Goeritz (2015). Testaccio is the 20th rione of Rome with a fascinating history. Long before the Tiber was canalized and was still navigable for small ships, clay amphorae filled with olives, oils, and other goods, were offloaded in this area. Once emptied and considered useless the amphorae were smashed on the ground, slowly building up the area from the shards of broken earthenware. The name is a conflation of testa (head) and coccio (clay shard) – as the process ultimately created Monte Testaccio. https://images.squarespace-cdn.com/content/v1/600757ef1485f7235b52cc94/1619807833360-43KJSWRWXTN4JMIOZQKW/143855271_3737320819676930_8639625195343962888_n.jpg The Works - Fellows & Associate Fellows The American Academy in Rome https://images.squarespace-cdn.com/content/v1/600757ef1485f7235b52cc94/af3f50f9-970f-42f5-b30e-befd9821bcfd/Constant.jpg The Works - Fellows & Associate Fellows The American Academy in Rome Caroline B. Constant, FAAR 1979 “Nolli’s Chiesa of S. Dorotea at Trastevere” (1979) 9 ½ in. by 12 ¾ in. (Sketch done in situ.) “Bramante's Ninfeo at Gennazzano,” (1979) 8 3/4 in. by 11 ½ in. (Sketch done in situ.) The sketchbook is one of several from Constant’s fellowship year. Immediately prior to her residency, Constant worked in Michael Graves’s office where she contributed large portions to such seminal texts as “The Necessity of Drawing: A Tangible Speculation”. https://images.squarespace-cdn.com/content/v1/600757ef1485f7235b52cc94/9df414b4-4afc-4930-a0bb-4138c3c1c261/GBP_16.jpg The Works - Fellows & Associate Fellows The American Academy in Rome Thomas Leslie, FAAR 2014, FAIA “Sketch section of Kursaal Ostia, Pier Luigi Nervi” November, 2013. Sketch in ink on Cartridge Paper, Sketch 140Lb 4 ¼ in x 6 in. As with Mark Schimmenti, Leslie was a Mid-career Fellow. On faculty for most of his career teaching in the graduate architecture program at Iowa State University, Leslie’s research has focused on the material and technical aspects of an architect’s productive task – from his book on Louis Kahn to his more recent work on Pier Luigi Nervi. https://images.squarespace-cdn.com/content/v1/600757ef1485f7235b52cc94/1619389014671-5WZ85LNZ7J2JQHRM3T78/keiran%2Btimberlake%2Bcropped.jpg The Works - Fellows & Associate Fellows The American Academy in Rome James Timberlake, FAAR 1983, FAIA “Pazzi Chapel,” Florence Sketch Graphite on cardstock (1982) 8 in. x 10 in. Private Collection of James Timberlake & Marguerite Rodgers, Philadelphia. “Palazzo Massimo,” Rome Sketch Conte’ crayon on plate stock (1982) 16 3/4 in. x 22 3/4 in. Private Collection of James Timberlake & Marguerite Rodgers, Philadelphia. https://images.squarespace-cdn.com/content/v1/600757ef1485f7235b52cc94/1619389173596-9AX34ILPIEYSTM4CQWXV/keiran%252Btimberlake%252Bcropped.jpg The Works - Fellows & Associate Fellows The American Academy in Rome James Timberlake, FAAR 1983, FAIA “Baldacchino, S. Giovanni in Laterano,” Rome Drafted Drawing (1 of 5 part series), Graphite on Tracing Paper (1983) 24 ½ in. x 36 ½ in. Private Collection of James Timberlake & Marguerite Rodgers, Philadelphia. The baldacchino of S. Giovanni in Laterano represents one of five constructed drawings paired with final drawing Timberlake made during his1982-83 Fellowship Year. Five baldacchino were drawn: S. Giovanni in Laterano; S. Clemente; S. Maria Cosmedin; S. Silvestro; and S. Maria Maggiore. “Calcs” (short for “Calculation Drawings”) were a particular drawing type customary in the office of Venturi, Scott Brown, where Timberlake worked for about a decade prior to his AAR Fellowship. In short, they were what, in the Florentine Renaissance, be called a “Preparatory Drawing” or Preparatory Painting.” Timberlake created the calcs for all five baldacchini in his AAR studio, based on his hand sketches with general scale markers made in situ. During the calc process, Timberlake made reference to photographic slides he had made on site, and published postcards he had collected. Upon completion of the calc layer – other layers replaced portions of the drawing (redone/remade) while creating the underlay. Once completed, a new second drawing was re-drafted on final toothed paper using #2 Ticonderoga pencils. The layered “calc” on tracing paper and the re-drafted final version on toothed paper established a final pairing for later exhibition at the academy. https://images.squarespace-cdn.com/content/v1/600757ef1485f7235b52cc94/44c6703e-9b48-4511-9dc7-5d43053b9ff2/keiran+timberlake+2.jpg The Works - Fellows & Associate Fellows The American Academy in Rome Steven Kieran, FAAR 1981, FAIA “Palazzo Canossa,” Rome Analytical Sketch Felt tip pen and pencil on card stock (1981-82) 13 ½ in. x 28 in. “San Andrea della Fratte,” Rome Analytical Sketch Felt tip pen and pencil on card stock (1981-82) 13 ½ in. x 28 in. Private Collection of James Timberlake & Marguerite Rodgers, Philadelphia. During his Fellowship Kieran realized photographic documentation of sites would be to expensive. Desiring to remember each and everything he visited, he purchased 3.0 x 5.0 cards on which he documented his analysis of numerous buildings and spaces throughout Italy. During his fellowship he made on average about a dozen of these cards every day. The over 3500 cards include: site plans, architectural plans, vertical sections, critical details, and textual notations about the places. The Palazzo Canossa and San Andrea della Fratte exhibits are from this collection. The cards were auctioned at an AAR Benefit in the mid 1990s, which is when they were acquired by James Timberlake and Marguerite Rodgers as part of their collection. https://images.squarespace-cdn.com/content/v1/600757ef1485f7235b52cc94/78162f54-5373-49df-8cc7-e625d6ae5491/schimmenti+2.jpg The Works - Fellows & Associate Fellows The American Academy in Rome Mark Schimmenti, FAAR 1998 “Piazza Augusto Imperatore I and II, Rome,” u.d. Oil Crayon, Graphite, Color Pencil, Ink on Hot Pressed 140Lb Watercolor Board 14 1/8 in x 17 1/8 in There are many ways of being a “Fellow” of the AAR; Schimmenti was a Mid-career Fellow. Schimmenti is currently a Professor Emeritus from the UTK School of Architecture and is one of four Fellows and Affilliated Fellows from from the UTK Architecture Program whose work is represented in in this exhibition. https://learningfrompiranesi.com/work/vedute monthly 0.5 2021-03-06 https://images.squarespace-cdn.com/content/v1/600757ef1485f7235b52cc94/aadf9dde-6eea-4e38-ab99-a3bc402ffc11/1.Piranesi+-+Veduta+degli+avanzi+superiori+delle+Terme+di+Diocleziano+a+S.+Maria+degli+Angeli.jpg The Works - Le Vedute: Perspectival Views across Two Millenia Giovanni Battista Piranesi (Mogliano, Veneto, Italian, 1720-1778). “Veduta degli avanzi superiori delle Terme di Diocleziano a S. Maria degli Angeli” (View of upper remains of the Baths of Diocletian at S. Mary of the Angels) From: Vedute di Roma, 1748-1760s. Etching on laid paper. (Focillon 834) (Wilton-Ely 792). Plate Marks: 18 ½ in. x 27 5/8 in. (Nolli # 203) Private Collection of George Dodds https://images.squarespace-cdn.com/content/v1/600757ef1485f7235b52cc94/255db89e-d265-4632-92f0-ae5d87d3ab85/2.Piranesi+-+Rovine+delle+Terme+Antoniniane.jpg The Works - Le Vedute: Perspectival Views across Two Millenia Giovanni Battista Piranesi (Mogliano, Veneto, Italian, 1720-1778). “Rovine delle Terme Antoniniane,” (Ruins of the Antonine Baths, alos called, Baths of Caracalla) From: Vedute di Roma, 1748-1760s. Etching on laid paper with watermark. (Focillon 852) (Wilton-Ely 788). Plate Marks: 16 ½ in. x 27 1/8 in. (Nolli # 1064) Private Collection of George Dodds https://images.squarespace-cdn.com/content/v1/600757ef1485f7235b52cc94/d76306a8-5c22-4ebc-bc72-a9fad46eac8b/3.Piranesi+-+Spaccato+interno+della+Bascilica+di+S.+Paolo+fuori+della+mura.jpg The Works - Le Vedute: Perspectival Views across Two Millenia Giovanni Battista Piranesi (Mogliano, Veneto, Italian, 1720-1778). “Spaccato interno della Bascilica di S. Paolo fuori della mura,” (Cut-away view of the interior of the Basilica of S. Paul Outside of the Wall), From: Vedute di Roma, 1748-1760s. Etching on laid paper (with watermark) (Focillon 792) (Wilton-Ely 693). Plate Marks: 16 ¼ in. x 24 in. (Not on Nolli) Private Collection of George Dodds https://images.squarespace-cdn.com/content/v1/600757ef1485f7235b52cc94/443b39af-f639-4a8b-87af-94064e62873e/4.Piranesi+-+Tempio+detto+volgarm+tempio+di+Giano.+A.+Arco+detto+degl%E2%80%99Argentieri.jpg The Works - Le Vedute: Perspectival Views across Two Millenia Giovanni Battista Piranesi (Mogliano, Veneto, Italian, 1720-1778). “Tempio detto volgarm tempio di Giano. A. Arco detto degl’Argentieri …,” (The so-called Temple of Janus. [Arch of Janus Quadrifrons] A. So-called Arch of the Argentari [or Money-changers]…), From: Vedute di Roma, 1748-1760s. Etching on laid paper. (Focillon 825) (Wilton-Ely 776). Plate Marks: 16 3/8 in. x 27 ½ in. (Nolli # 1054) Private Collection of George Dodds https://images.squarespace-cdn.com/content/v1/600757ef1485f7235b52cc94/0fc6b692-a707-4299-9f98-a8bb3ccd00e2/5.Piranesi+-+Avanzi+della+Villa+di+Mecenate+a+Tivoli.jpg The Works - Le Vedute: Perspectival Views across Two Millenia Giovanni Battista Piranesi (Mogliano, Veneto, Italian, 1720-1778). “Avanzi della Villa di Mecenate a Tivoli,” (Remains of the Villa of Maecenas at Tivoli) (Focillon 768) (Wilton-Ely 804) Watermark unknown. From: Vedute di Roma, 1748-1760s. Plate Marks: 17 ½ in. x 26 ¼ in. (Not on Nolli) Private Collection of George Dodds https://images.squarespace-cdn.com/content/v1/600757ef1485f7235b52cc94/25e72a1f-f253-4aac-835b-f10ea3e3ff38/6.Piranesi+-+Veduta+interna+dell%E2%80%99antico+Tempio+di+Bacco+in+oggi+Chiesa+di+S.+Urbano+due+miglia+distante+da+Roma+fuori+di+porta+S.+Sebastiano.jpg The Works - Le Vedute: Perspectival Views across Two Millenia Giovanni Battista Piranesi (Mogliano, Veneto, Italian, 1720-1778). “Veduta interna dell’ antico Tempio di Bacco in oggi Chiesa di S. Urbano due miglia distante da Roma fuori di porta S. Sebastiano….” (Interior view of the ancient Temple of Bacchus, now the church of S. Urbino, two miles from Rome…), From: Vedute di Roma, 1748-1760s. Etching on laid paper. (Focillon 752) (Wilton-Ely 745). Plate Marks: 16 in. x 23 5/8 in. (Not on Nolli) Private Collection of George Dodds https://images.squarespace-cdn.com/content/v1/600757ef1485f7235b52cc94/0c6f294e-76e0-4e29-bdbc-a1232e89492b/7.Piranesi+-+Ruins+of+the+so-called+amphitheater+of+Domitian+in+the+gardens+of+the+monks+of+S.+Paola+at+Albano.Jpeg The Works - Le Vedute: Perspectival Views across Two Millenia Giovanni Battista Piranesi (Mogliano, Veneto, Italian, 1720-1778). “Rovine dell' Anfiteatro detto di Domiziano nell'orto de' monaci di S. Paolo d'Albano,” (Ruins of the so-called amphitheater of Domitian in the gardens of the monks of S. Paola at Albano”) From: Le Antichità Romane. (1756) (Focillon 519) (Wilton-Ely 467). Etching on laid paper with watermark. From: Vedute di Roma, 1748-1760s. Plate Marks: 15 1/2 in. x 25 ½ in. (Not on Nolli) Private Collection of George Dodds https://images.squarespace-cdn.com/content/v1/600757ef1485f7235b52cc94/98c9f312-28de-4411-81d8-9119902f18f7/8.Piranesi+-+Veduta+dell%E2%80%99+interno+del+Pantheon.jpg The Works - Le Vedute: Perspectival Views across Two Millenia Giovanni Battista Piranesi (Mogliano, Veneto, Italian, 1720-1778). ''Veduta dell’ interno del Pantheon” (Interior view of the Pantheon) From: Le Antichità Romane. (1756) Etching on laid paper with watermark. (Focillon 172) (Wilton-Ely 015). Plate Marks: 5 in. x 10 ¼ in. (Nolli # 837) Private Collection of George Dodds https://images.squarespace-cdn.com/content/v1/600757ef1485f7235b52cc94/f8890393-d27f-41e2-8b2e-c0b6de0e5a7c/9.Piranesi+-+Sepolcro+Di+Cecilia+Metella.jpg The Works - Le Vedute: Perspectival Views across Two Millenia Giovanni Battista Piranesi (Mogliano, Veneto, Italian, 1720-1778). “Sepolcro Di Cecilia Metella…,” (Tomb of Caecilia Metella…) (Focillon 772) (Wilton-Ely 797) Watermark unknown. From: Vedute di Roma, 1748-1760s. Plate Marks: 17 ¾ in. x 25 in. (Not on Nolli) Private Collection of George Dodds https://images.squarespace-cdn.com/content/v1/600757ef1485f7235b52cc94/adcc1f02-41b9-4fe3-bd45-5214400ec335/10.Piranesi+-+Seplocro+detto+falsamente+degli+Horatii%2C+e+Curatii%2C+Rimane+su+la+via+Appia+duori+d%E2%80%99Albano+dalla+Parte+Orientale.jpg The Works - Le Vedute: Perspectival Views across Two Millenia Giovanni Battista Piranesi (Mogliano, Veneto, Italian, 1720-1778). “Seplocro detto falsamente degli Horatii, e Curatii, Rimane su la via Appia duori d’Albano dalla Parte Orientale” (Tomb wrongly called that of the Horatii and Curatii…) From: Antichità d’ Albano e di Castel Gandolfo… (1764) Etching on laid paper. From: Vedute di Roma, 1748-1760s. (Focillon 513) (Wilton-Ely 462). Plate Marks: 15 3/8 in. x 21 7/8 in. (Not on Nolli) Private Collection of George Dodds https://learningfrompiranesi.com/work/disegno monthly 0.5 2021-03-06 https://images.squarespace-cdn.com/content/v1/600757ef1485f7235b52cc94/a750258f-9063-469e-9b0b-2fe5da1c772c/1.Piranesi+-+Studies+of+the+Substructure+of+the+Capitoline+Hill.jpg The Works - Disegno: Drawing-out Architecture Through Construction Giovanni Battista Piranesi (Mogliano, Veneto, Italian, 1720-1778). ''Studies of the Substructure of the Capitoline Hill,'' Plate I, from Della Magnificenza ed Architettura de Romani (1761). Etching on laid paper. (Focillon 933) (Wilton-Ely 761). Plate Marks: 12 ¾ in. x 9 ¼ in. Private Collection of George Dodds https://images.squarespace-cdn.com/content/v1/600757ef1485f7235b52cc94/159f5b60-ffe5-459a-a501-a7c8478e365b/2.Piranesi+-+Ostium%2C+Sive+Emissarium+Cloaca+Maxima+in+Tiberum.jpg The Works - Disegno: Drawing-out Architecture Through Construction Giovanni Battista Piranesi (Mogliano, Veneto, Italian, 1720-1778). ''Ostium, Sive Emissarium Cloaca Maxima in Tiberum'', Plate II, from: Della Magnificenza ed Architettura de Romani (1761). Etching on laid paper. (Focillon 934) (Wilton-Ely 762). Plate Marks: 12 ¾ in. x 9 ¼ in. Private Collection of George Dodds https://images.squarespace-cdn.com/content/v1/600757ef1485f7235b52cc94/1616950812460-VIMJF8UQBUESNA7Y0R5R/3.Piranesi%2B-%2BPlan%252C%2BSection%2Band%2BElevation%2Bof%2Bthe%2BCloaca%2BMaxima%2BIII.jpg The Works - Disegno: Drawing-out Architecture Through Construction Giovanni Battista Piranesi (Mogliano, Veneto, Italian, 1720-1778). ''Plan, Section and Elevation of the Cloaca Maxima'', Plate III, from: Della Magnificenza ed Architettura de Romani (1761). Etching on laid paper. (Focillon 935) (Wilton-Ely 763). Plate Marks: 13 ¾ in. x 9 ¼ in. Private Collection of George Dodds https://images.squarespace-cdn.com/content/v1/600757ef1485f7235b52cc94/f72b8023-b593-4e86-b263-d0b90d22f0d7/4.Piranesi+-+Roman+architectural+details+compared+with+Greek+examples+from+Le+Roy.jpg The Works - Disegno: Drawing-out Architecture Through Construction Giovanni Battista Piranesi (Mogliano, Veneto, Italian, 1720-1778). ''Roman architectural details compared with Greek examples from Le Roy,'' Plate XX, from: Della Magnificenza ed Architettura de Romani (1761). Etching on laid paper. (Focillon 949) (Wilton-Ely 308). Plate Marks: 15 3/8 in. x 23 ¼ in. Private Collection of George Dodds https://images.squarespace-cdn.com/content/v1/600757ef1485f7235b52cc94/5011f03a-57eb-4cb4-913b-23da138c4bda/5.Piranesi+-+%5BPLACEHOLDER%5D+Plan%2C+Section+and+Elevation+of+the+Cloaca+Maxima+XXXV.jpg The Works - Disegno: Drawing-out Architecture Through Construction [PLACEHOLDER] Giovanni Battista Piranesi (Mogliano, Veneto, Italian, 1720-1778). ''Plan, Section and Elevation of the Cloaca Maxima'', Plate XXXV, from: Della Magnificenza ed Architettura de Romani (1761). Etching on laid paper. (Focillon 963) (Wilton-Ely 795). Plate Marks: 16 1/8 in. x 12 ½ in. Private Collection of George Dodds https://images.squarespace-cdn.com/content/v1/600757ef1485f7235b52cc94/1616737429671-NM60AQ9AP6WKI7D9ZF6G/6.Piranesi%2B-%2BParte%2Bdell%2527antica%2BVia%2BAppia.jpg The Works - Disegno: Drawing-out Architecture Through Construction Giovanni Battista Piranesi (Mogliano, Veneto, Italian, 1720-1778). “Parte dell'antica Via Appia…” From: Le Antichità Romane. (1756) Printed by Francesco Piranesi (Italian, 1756-1810). First Paris Edition. Etching on laid paper. (Focillon 288) (Wilton-Ely 115). Plate Marks: 13 ½ in. x 20 ½ in. Private Collection of George Dodds https://images.squarespace-cdn.com/content/v1/600757ef1485f7235b52cc94/6019ebeb-491e-4c31-b0d4-1fbf4fb948a4/7.Piranesi+-+%5BPLACEHOLDER%5D+Various+architectural+details+including+fragments+relating+to+the+Temple+of+Vesta%2C+Rome.jpg The Works - Disegno: Drawing-out Architecture Through Construction [PLACEHOLDER] Giovanni Battista Piranesi (Mogliano, Veneto, Italian, 1720-1778). “Various architectural details including fragments relating to the Temple of Vesta, Rome.” Plate XXXVIII, from: Della Magnificenza ed Architettura de Romani (1761). Etching on laid paper. (Focillon 966) (Wilton-Ely 321). Plate Marks: 17 in. x 27 3/8 in. Private Collection of George Dodds https://images.squarespace-cdn.com/content/v1/600757ef1485f7235b52cc94/e02f616d-2587-47f7-bdff-81248132701a/8.Piranesi+-+Torrei+di+cui+son+munite+le+mura.jpg The Works - Disegno: Drawing-out Architecture Through Construction Giovanni Battista Piranesi (Mogliano, Veneto, Italian, 1720-1778). “Torrei di cui son munite le mura…” Towers which Fortify the Wall.” From: Le Antichità Romane. (1756) Etching on laid paper. (Focillon 158) (Wilton-Ely 008). Plate Marks: 5 1/8 in. x 7 ¾ in. Private Collection of George Dodds https://images.squarespace-cdn.com/content/v1/600757ef1485f7235b52cc94/b549d160-650d-49b7-9304-d59dcf0579aa/9.Piranesi+-+Constructional+details+of+the+entrance+porch+to+a+Tuscan+temple+precinct+together+with+an+inscription+from+Palazzo+Farnese.JPG The Works - Disegno: Drawing-out Architecture Through Construction Giovanni Battista Piranesi (Mogliano, Veneto, Italian, 1720-1778). ''Constructional details of the entrance porch to a Tuscan temple precinct together with an inscription from Palazzo Farnese,'' Plate XXXVII, from: Della Magnificenza ed Architettura de Romani. (1761). Etching on laid paper. (Focillon 965) (Wilton-Ely 320) Plate Marks: 17 in. x 27 3/8 in. Private Collection of George Dodds https://images.squarespace-cdn.com/content/v1/600757ef1485f7235b52cc94/33b78b5d-0156-4142-970f-10617d756023/10.Piranesi+-+Avanzo+del+primo+Castello+di+una+parte+dell%27Acqua+Giulia.jpg The Works - Disegno: Drawing-out Architecture Through Construction Giovanni Battista Piranesi (Mogliano, Veneto, Italian, 1720-1778). “Avanzo del primo Castello di una parte dell'Acqua Giulia” (Remains of the first fountain-head of a part of the Acqua Giulia). From: Le Antichità Romane. (1756) Etching on laid paper. (Focillon 193) (Wilton-Ely 026). Plate Marks: 4 ¾ in. x 7 ¾ in. Private Collection of George Dodds https://images.squarespace-cdn.com/content/v1/600757ef1485f7235b52cc94/70dcc2c1-092a-4cb3-88e7-5e5e58dfd6d4/11.Piranesi+-+Veduta+degli+avanzi+del+Foro+del+Nerva.jpg The Works - Disegno: Drawing-out Architecture Through Construction Giovanni Battista Piranesi (Mogliano, Veneto, Italian, 1720-1778). “Veduta degli avanzi del Foro di Nerva.” (Views of the Remains of the Forum of Nerva). From: Le Antichità Romane. (1756) Etching on laid paper. (Focillon 201) (Wilton-Ely 030). Plate Marks: 5 in. x 7 ¾ in. Private Collection of George Dodds https://images.squarespace-cdn.com/content/v1/600757ef1485f7235b52cc94/b07509a2-6da7-49ca-85a5-45a52ed3a9b7/12.Piranesi+-+Una+di+marmo+col+suo+Coperchio+ritrovata+dentro+al+Mausoleo+di+Cecelia+Metella.jpg The Works - Disegno: Drawing-out Architecture Through Construction Giovanni Battista Piranesi (Mogliano, Veneto, Italian, 1720-1778). “Una di marmo col suo Coperchio ritrovata dentro al Mausoleo di Cecelia Metella….: (Marble urn from the mausoleum of Cecilia Metella in Rome). From: From: Le Antichità Romane. (1756) Etching on laid paper. (Focillon 334) (Wilton-Ely 165). Plate Marks: 14 1/8 in. x 23 ½ in. Printed by Francesco Piranesi (Italian, 1756-1810), Paris, First Edition. Private Collection of George Dodds https://images.squarespace-cdn.com/content/v1/600757ef1485f7235b52cc94/c677a7b3-ae6f-4a0a-a2c7-84a2e80ffc00/14.Piranesi+-+Reliquiae+Pontis+Triumphalis+seu+Vaticani.jpg The Works - Disegno: Drawing-out Architecture Through Construction Giovanni Battista Piranesi (Mogliano, Veneto, Italian, 1720-1778). “Reliquiae Pontis Triumphalis seu Vaticani” (Remains of the “Triumphal” or “Vatican” Bridge). From: Il Campo Marzo dell’ Antica Roma (1762). Etching on laid paper. (Focillon 475) (Wilton-Ely 453). Plate Marks: 13 in. x 9 ¼ in. Private Collection of George Dodds https://images.squarespace-cdn.com/content/v1/600757ef1485f7235b52cc94/1b621011-3b3a-4976-8164-7a206a4d58fa/15.Piranesi+-+Del+Castello+dell%27+Acqua+Giulia.jpg The Works - Disegno: Drawing-out Architecture Through Construction Giovanni Battista Piranesi (Mogliano, Veneto, Italian, 1720-1778). “Del Castello dell' Acqua Giulia.” (Concerning the Fountainhead of the Acqua Giulia). From: Le Rovine del Castello dell’ Acqua Giulia... (1761) Etching on laid paper. (Focillon 403) (Wilton-Ely 397). Plate Marks:15 3/8 in. x 8 1/4 in. Private Collection of George Dodds https://images.squarespace-cdn.com/content/v1/600757ef1485f7235b52cc94/16ac3ef5-222a-45c2-9b47-87094fcddd88/16.Piranesi+-+Sezione+Traversale+de%27+cunei+inferiori+del+Teatro+di+Marcello.jpg The Works - Disegno: Drawing-out Architecture Through Construction Giovanni Battista Piranesi (Mogliano, Veneto, Italian, 1720-1778). "Sezione Traversale de' cunei inferiori del Teatro di Marcello," (Transverse section of one of the lower banks of seats in the Theater of Marcellus facing the Via de’ Senatori…” From: Le Antichità Romane. (1756). Etching on laid paper. (Focillon 366) (Wilton-Ely 203). Plate Marks: 14 in. x 9 7/8 in. Private Collection of George Dodds https://images.squarespace-cdn.com/content/v1/600757ef1485f7235b52cc94/1616950184143-AVKPBH193ZWTP4WM7BWT/17.Piranesi%252B-%252BAvanzi%252BDi%252BUn%252BColegio%252BDi%252BSilvano%252BAureliano%252BDestanti%252Bcirca%252BQuattro%252BMiglio%252Bda%252BRoma.jpg The Works - Disegno: Drawing-out Architecture Through Construction Giovanni Battista Piranesi (Mogliano, Veneto, Italian, 1720-1778). “Avanzi Di Un Colegio Di Silvano Aureliano Destanti circa Quattro Miglio da Roma….” (Ruins from the college of Silvanus Aurelianus about four miles from Rome outside the Porta Maggiore in the place called the Hundred Cells, belonging to the most excellent Barberini familiy). From: Le Antichità Romane. (1756) Etching on laid paper. (Focillon 395) (Wilton-Ely 229). Plate Marks: 14 in. x11 1/4 in. Private Collection of George Dodds https://images.squarespace-cdn.com/content/v1/600757ef1485f7235b52cc94/1a630f76-6335-42de-9c16-047523b5dfdc/18.Piranesi+-+%5BPLACEHOLDER+-+NEEDS+PLAN%5D+Pianta+del+sepolcro+di+Alessandro+Severo%2C+situato+fuori+di+Porta+S.+Giovanni.jpg The Works - Disegno: Drawing-out Architecture Through Construction Giovanni Battista Piranesi (Mogliano, Veneto, Italian, 1720-1778). ““Pianta del sepolcro di Alessandro Severo, situato fuori di Porta S. Giovanni…. (Plan of the Tomb of Alexander Severus located outside the San Giovanni Gate….) From: Le Antichità Romane (1756). Etching on laid paper. (Focillon 253) (Wilton-Ely 080). Plate Marks: 14 in. x 10 in. Permanent Collection of Ewing Gallery of Art & Architecture University of Tennessee, Knoxville Gift of Dr. Charles Wells https://images.squarespace-cdn.com/content/v1/600757ef1485f7235b52cc94/31d55757-6d58-43cb-bf8e-1fdcd6568752/19.Piranesi+-+Pars+Cellarum+Subterranearum+Capitolii%2C+quae+antiquuitus+dicebantur+Favissae.jpg The Works - Disegno: Drawing-out Architecture Through Construction Giovanni Battista Piranesi (Mogliano, Veneto, Italian, 1720-1778). “Pars Cellarum Subterranearum Capitolii, quae antiquuitus dicebantur Favissae….” (Part of the subterranean cellars of the Capitoline Hill, which were called the Favissae” in antiquity…“). From: Il Campo Marzo dell’ Antica Roma… (1762) Etching on laid paper. (Focillon 457) (Wilton-Ely 440). Plate Marks:15 ½ in. x 11 in. Private Collection of George Dodds https://images.squarespace-cdn.com/content/v1/600757ef1485f7235b52cc94/83d59d39-e36a-4ed7-ac00-8a0f040940db/20.Piranesi+-+Pianta+degli+avanzi+del+Portico+fabbricato+da+M.+Emilio+Lepido.jpg The Works - Disegno: Drawing-out Architecture Through Construction Giovanni Battista Piranesi (Mogliano, Veneto, Italian, 1720-1778). “Pianta degli avanzi del Portico fabbricato da M. Emilio Lepido….'' (Plan of the remains of the arcade built by M. Aemilius Lepidus and P. Aemilius Paullus outside the Porta Trigemina at the Emporium on the bank of the Tiber.” From: Le Antichità Romane (1756). Etching on laid paper. (Focillon 386) (Wilton-Ely 220). Plate Marks: 13 ¾ in. x 9 ½ in. Private Collection of George Dodds https://images.squarespace-cdn.com/content/v1/600757ef1485f7235b52cc94/92dd1935-8ba5-4320-8044-b58cdfe9ffe1/21.Piranesi+-+Pianta+dell%E2%80%99+avanzo+del+Portico+di+Filippo.jpg The Works - Disegno: Drawing-out Architecture Through Construction Giovanni Battista Piranesi (Mogliano, Veneto, Italian, 1720-1778). “Pianta dell’ avanzo del Portico di Filippo…” (Plan of the remains of the Portico of Philip [L. Marcius Philippus]…) From: Le Antichità Romane (1756). Etching on laid paper. (Focillon 384) (Wilton-Ely 218). Plate Marks: 14 in. x 9 7/8 in. Private Collection of George Dodds https://images.squarespace-cdn.com/content/v1/600757ef1485f7235b52cc94/c23d6c70-4eb3-420b-8f9a-ac504919e07a/22.Piranesi+-+Les+Ruines+des+Plus+Beaux+Monuments+de+la+Grece+XXXI.jpg The Works - Disegno: Drawing-out Architecture Through Construction Giovanni Battista Piranesi (Mogliano, Veneto, Italian, 1720-1778). Plate XXXI ''Les Ruines des Plus Beaux Monuments de la Grece,'' (Le Roy’s Columns compared with Etruscan and Roman Examples), from Della Magnificenza ed Architettura de Romani (1761). Etching on laid paper. (Focillon 959) (Wilton-Ely 316a). Plate Marks: 12 ½ in. x 9 5/8 in. Private Collection of George Dodds https://images.squarespace-cdn.com/content/v1/600757ef1485f7235b52cc94/96192215-7a88-4154-829b-a2bf4221c27e/23.Piranesi+-+Les+Ruines+des+Plus+Beaux+Monuments+de+la+Grece+XXXII.jpg The Works - Disegno: Drawing-out Architecture Through Construction Giovanni Battista Piranesi (Mogliano, Veneto, Italian, 1720-1778). Plate XXXII ''Les Ruines des Plus Beaux Monuments de la Grece,'' (Plan, elevations, and details of various Greek Doric temples after Le Roy. from Della Magnificenza ed Architettura de Romani (1761). Etching on laid paper. (Focillon 960) (Wilton-Ely 316b). Plate Marks: 15 in. x 10 7/8 in. (Unsigned) Private Collection of George Dodds https://images.squarespace-cdn.com/content/v1/600757ef1485f7235b52cc94/2134aea6-f864-46ab-b54e-aed749e7d5e2/24.Piranesi+-+Les+Ruines+des+Plus+Beaux+Monuments+de+la+Grece+XXXIII.JPG The Works - Disegno: Drawing-out Architecture Through Construction Giovanni Battista Piranesi (Mogliano, Veneto, Italian, 1720-1778). Plate XXXIII ''Les Ruines des Plus Beaux Monuments de la Grece,'' (Plan, elevations, and details of various Greek Doric temples after Le Roy. from Della Magnificenza ed Architettura de Romani (1761). Etching on laid paper. (Focillon 961) (Wilton-Ely 317a). Plate Marks: 13 1/8 in. x 10 ¼ in. Private Collection of George Dodds https://images.squarespace-cdn.com/content/v1/600757ef1485f7235b52cc94/27b44da6-7532-4b25-a252-388a997cbd8b/25.Piranesi+-+Les+Ruines+des+Plus+Beaux+Monuments+de+la+Grece+XXXIV.jpg The Works - Disegno: Drawing-out Architecture Through Construction Giovanni Battista Piranesi (Mogliano, Veneto, Italian, 1720-1778). Plate XXXIV ''Les Ruines des Plus Beaux Monuments de la Grece,'' (Plan, elevations, and details of the Erechtheion, Athens, after Le Roy. from Della Magnificenza ed Architettura de Romani (1761). Etching on laid paper. (Focillon 962) (Wilton-Ely 317b). Plate Marks: 14 ½ in. x 10 ½ in. Private Collection of George Dodds https://images.squarespace-cdn.com/content/v1/600757ef1485f7235b52cc94/1616962428800-5UY7M97GB0INN0TYHWSO/13.Piranesi%2B-%2BDimostrazioni%2Bdell%2527Emissario%2Bdel%2BLago%2BAlbano.jpg The Works - Disegno: Drawing-out Architecture Through Construction Giovanni Battista Piranesi (Mogliano, Veneto, Italian, 1720-1778). “Dimostrazioni dell'Emissario del Lago Albano.” (Practical Illustrations of the Spillway of Lake Albano). From: Descrizione e Disegno dell’ Emmissario del Lago Albano di Gio Battisa Piranesi. (1762) Etching on laid paper. (Focillon 486) (Wilton-Ely 489). Plate Marks: 15 ½ in. x 24 ¾ in. Printed by Francesco Piranesi (Italian, 1756-1810), Paris, First Edition. Private Collection of George Dodds https://learningfrompiranesi.com/work/drawingonlife monthly 0.5 2021-03-25 https://images.squarespace-cdn.com/content/v1/600757ef1485f7235b52cc94/1619465231276-MO2RSFKCE88AYXH5ZA2G/142340995_3726312800777732_7837019693268434748_n.jpg The Works - Drawing on Life: A Life of Drawing https://images.squarespace-cdn.com/content/v1/600757ef1485f7235b52cc94/d409353d-8d85-4258-873c-64c488ddfaea/142071116_3726301674112178_7361139958002796027_n.jpg The Works - Drawing on Life: A Life of Drawing https://images.squarespace-cdn.com/content/v1/600757ef1485f7235b52cc94/e99646c2-726d-45a6-9b44-f5b2ca9984e5/141910348_3726306097445069_4649109748185309698_n.jpg The Works - Drawing on Life: A Life of Drawing https://images.squarespace-cdn.com/content/v1/600757ef1485f7235b52cc94/5904f1c6-9ee1-4677-a1fb-fff57a951855/Antecedents+8.jpg The Works - Drawing on Life: A Life of Drawing https://images.squarespace-cdn.com/content/v1/600757ef1485f7235b52cc94/0a538ca0-20f8-44b9-bbf6-7355d72e3d8f/Antecedents+9.jpg The Works - Drawing on Life: A Life of Drawing https://images.squarespace-cdn.com/content/v1/600757ef1485f7235b52cc94/ce4a4030-e9b0-469f-8212-2f4ade15749c/142558119_3726311240777888_1974735234434154331_n.jpg The Works - Drawing on Life: A Life of Drawing https://images.squarespace-cdn.com/content/v1/600757ef1485f7235b52cc94/ba77d2f4-2e89-4494-be3f-b78c68dbda5d/141782644_3726311220777890_882285089248933388_n.jpg The Works - Drawing on Life: A Life of Drawing https://images.squarespace-cdn.com/content/v1/600757ef1485f7235b52cc94/d010fd87-6d1f-428a-958a-c60dd9eee510/142138424_3726310940777918_3735798104530710730_n.jpg The Works - Drawing on Life: A Life of Drawing https://images.squarespace-cdn.com/content/v1/600757ef1485f7235b52cc94/b4cd5284-6d5c-461f-a32c-83b9d7ca0706/142197209_3726310714111274_4391180487865022732_n.jpg The Works - Drawing on Life: A Life of Drawing https://images.squarespace-cdn.com/content/v1/600757ef1485f7235b52cc94/6b776c49-4693-40b9-b4e0-dd4fb7efd473/142200946_3726310710777941_8361347087057464900_n.jpg The Works - Drawing on Life: A Life of Drawing https://images.squarespace-cdn.com/content/v1/600757ef1485f7235b52cc94/bf2964a2-80db-4907-9bde-f895d182ba9c/141710440_3726312034111142_9217728900864910722_n.jpg The Works - Drawing on Life: A Life of Drawing https://learningfrompiranesi.com/work/antecedents monthly 0.5 2021-03-25 https://images.squarespace-cdn.com/content/v1/600757ef1485f7235b52cc94/1563fddf-9a8c-4f98-9cc7-ba38c182f31a/Drawing+on+Life+1.jpg The Works - Antecedents: Representation and Calibration Professor George Dodds speaks to his Spring 2021 architecture studio at the University of Tennessee https://images.squarespace-cdn.com/content/v1/600757ef1485f7235b52cc94/1616640546742-YBA7Y2USOD625OVDL388/1.Callot%2B-%2BCap.%2BBonbardon%2Band%2BCap.%2BGrillo.jpg The Works - Antecedents: Representation and Calibration Jacques Callot (French, 1592-1635) Etching in black ink on laid paper “Cap. Bonbardon and Cap. Grillo,” (1621-22) From the series, Dances of Sfessania. 1621 (Ballie di Sfessania) 2 5/8 in. x 3 ½ in. Private Collection of George Dodds https://images.squarespace-cdn.com/content/v1/600757ef1485f7235b52cc94/85837f90-22fb-4168-83e0-182c6b5a6f62/Drawing+on+Life+4.jpg The Works - Antecedents: Representation and Calibration https://images.squarespace-cdn.com/content/v1/600757ef1485f7235b52cc94/86b79244-9f36-43db-9107-0151a8de047a/2.Vasi+-+The+Villa+Madama+outside+the+Angelica+Door.jpg The Works - Antecedents: Representation and Calibration Giuseppe Vasi (Corleone, Italian 1710-1782) Etching on Laid Paper. “The Villa Madama outside the Angelica Door”. From, Delle magnificenze di Roma antica e moderna (1761). Plate Mark: 8 ½ x 13 3/8 Private Collection of George Dodds https://images.squarespace-cdn.com/content/v1/600757ef1485f7235b52cc94/069cf2b1-9d87-4ef4-a245-cf5ef561df90/3.Callot+-+The+Commander+on+Foot.jpg The Works - Antecedents: Representation and Calibration Jacques Callot (French, 1592-1635) Etching in black ink on laid paper “The Commander on Foot,”(1623). From the 2nd Series of Caprices. First of Two States. 2 1/8 in. x 3 1/8 in. Private Collection of George Dodds https://images.squarespace-cdn.com/content/v1/600757ef1485f7235b52cc94/a5e9000a-d9ad-4958-a6aa-0aacab346fa4/4.Vasi+-+Tiber+Island+looking+West.jpg The Works - Antecedents: Representation and Calibration Giuseppe Vasi (Corleone, Italian 1710-1782) Etching on Laid Paper. “Tiber Island looking West”. From, Delle magnificenze di Roma antica e moderna (1761). First Edition. Plate Mark: 8 3/8 x 12 ¾ Private Collection of George Dodds https://images.squarespace-cdn.com/content/v1/600757ef1485f7235b52cc94/c3c4ef21-3509-4369-afd5-66cacd73269f/5.Callot+-+Christ+Washing+the+Disciples%27+Feet.jpg The Works - Antecedents: Representation and Calibration Jacques Callot (French, 1592-1635) “Christ Washing the Disciples' Feet” (c. 1618) From, The Large Passion series Etching in black ink on laid paper 4 1/2 x 8 1/2 in. Private Collection of George Dodds https://images.squarespace-cdn.com/content/v1/600757ef1485f7235b52cc94/5741f0da-d192-42f0-88d5-1379d0728233/143555829_3737322279676784_3895623703212414063_n.jpg The Works - Antecedents: Representation and Calibration https://images.squarespace-cdn.com/content/v1/600757ef1485f7235b52cc94/78ed4ca1-fdee-4fea-bc09-07825b4428b3/6.Vasi+-+Antiquities+flanking+the+Palantine+Bridge+%5Bcheck%5D.jpg The Works - Antecedents: Representation and Calibration Giuseppe Vasi (Corleone, Italian 1710-1782) Etching on Laid Paper. “Antiquities flanking the Palantine Bridge”. From, Delle magnificenze di Roma antica e moderna (1761). First Edition. Plate Marks: 8 3/8 x 12 7/8 Private Collection of George Dodds https://images.squarespace-cdn.com/content/v1/600757ef1485f7235b52cc94/2a4ad3e0-5ea0-45db-80cf-9200be75b933/143680633_3737322209676791_8891770681469291210_n.jpg The Works - Antecedents: Representation and Calibration https://images.squarespace-cdn.com/content/v1/600757ef1485f7235b52cc94/3a961c8f-27fb-4d61-9fec-995c643617d3/7.Callot+-+The+Crowning+with+Thorns.jpg The Works - Antecedents: Representation and Calibration Jacques Callot (French, 1592-1635) “Christ Washing the Disciples' Feet” (c. 1618) From, The Large Passion series Etching in black ink on laid paper 4 1/2 x 8 1/2 in. Private Collection of George Dodds https://images.squarespace-cdn.com/content/v1/600757ef1485f7235b52cc94/9690e379-ed69-4d58-af75-7604b32e5dce/Antecedents+1.jpg The Works - Antecedents: Representation and Calibration https://images.squarespace-cdn.com/content/v1/600757ef1485f7235b52cc94/30e555d1-c544-49bd-b1f7-bbc0ea68b1a9/8.Pozzo+-+Figura+6+from+PERSPECTIVA+PICTORUM+ET+ARCHITECTORUM.jpg The Works - Antecedents: Representation and Calibration Andrea Pozzo, (Trentino/Italian, 1642-1709) “Figura 6,” From, PERSPECTIVA PICTORUM ET ARCHITECTORUM. (1693-1698, Rome.) Engraving, Ink on foolscap, First Edition. Plate Marks: 6 ½ x 9 1/8 Private Collection of George Dodds https://images.squarespace-cdn.com/content/v1/600757ef1485f7235b52cc94/b52abfe0-13cc-46fc-93f8-96ff9b4f67ef/Antecedents+6.jpg The Works - Antecedents: Representation and Calibration https://images.squarespace-cdn.com/content/v1/600757ef1485f7235b52cc94/51f304db-8dad-4b3a-b442-297160e98c8f/Antecedents+7.jpg The Works - Antecedents: Representation and Calibration https://images.squarespace-cdn.com/content/v1/600757ef1485f7235b52cc94/1626458338553-CJJ7OAHRIU4R28S7ZHXA/reni.jpg The Works - Antecedents: Representation and Calibration Attributed to Guido Reni (Italian, 1575-1642) Etching in black ink on laid paper “Study of two heads” 3 1/2 x 4 1/2 in. Private Collection of George Dodds https://images.squarespace-cdn.com/content/v1/600757ef1485f7235b52cc94/1616640043644-GVSHES540TECTJ94O20J/10.Pozzo%2BFigura%2B7%2Bfrom%2BPERSPECTIVA%2BPICTORUM%2BET%2BARCHITECTORUM.jpg The Works - Antecedents: Representation and Calibration Andrea Pozzo, (Trentino/Italian, 1642-1709) “Figura 7,” From, PERSPECTIVA PICTORUM ET ARCHITECTORUM. (1693-1698, Rome.) Engraving, Ink on foolscap, First Edition. Plate Marks: 6 ½ x 9 1/8 Private Collection of George Dodds https://images.squarespace-cdn.com/content/v1/600757ef1485f7235b52cc94/6bc3e2a1-f406-4c05-843d-ab5dbf3ff208/Antecedents+8.jpg The Works - Antecedents: Representation and Calibration https://images.squarespace-cdn.com/content/v1/600757ef1485f7235b52cc94/1616641821256-BOFL8QQERN2YFJM646KQ/11.Coello%2BPen%2Band%2Bink%2Band%2Bon%2BFoolscap.jpg The Works - Antecedents: Representation and Calibration Claudio Coello (Spanish 1642-1693) Original Pen and ink and on Foolscap in the manner of Ferdinando Galli-Bibiena (1657-1743). 8 3/4 x 8'' Coello’s career centered in Madrid at the Escorial. 8 ¾ in. x 8 in. Private Collection of George Dodds https://images.squarespace-cdn.com/content/v1/600757ef1485f7235b52cc94/cc43d4de-2b0d-437d-9875-d80b3a65974c/Antecedents+4.jpg The Works - Antecedents: Representation and Calibration https://images.squarespace-cdn.com/content/v1/600757ef1485f7235b52cc94/1616640088660-F3JA34NG6VAUQR8MUEOU/12.Pozzo%2BFigura%2B8%2Bfrom%2BPERSPECTIVA%2BPICTORUM%2BET%2BARCHITECTORUM.jpg The Works - Antecedents: Representation and Calibration Andrea Pozzo, (Trentino/Italian, 1642-1709) “Figura 8,” From, PERSPECTIVA PICTORUM ET ARCHITECTORUM. (1693-1698, Rome.) Engraving, Ink on foolscap, First Edition. Plate Marks: 6 ½ x 9 1/8 Private Collection of George Dodds https://images.squarespace-cdn.com/content/v1/600757ef1485f7235b52cc94/6959de8f-f980-4048-bff8-605ddc3ecf5a/13.Vasi+-+Secondo+Prospetto+del+Casino+di+Villa+Madama.jpg The Works - Antecedents: Representation and Calibration Giuseppe Vasi (Corleone, Italian 1710-1782) Etching on Laid Paper. “Secondo Prospetto del Casino di Villa Madama”. From, Delle magnificenze di Roma antica e moderna (1761). Plate Mark: 8 ½ x 13 3/8 Private Collection of George Dodds https://images.squarespace-cdn.com/content/v1/600757ef1485f7235b52cc94/1616640115725-KDAAK0Y4ZUF1W77JTNDT/14.Pozzo%2BFigura%2B17%2Bfrom%2BPERSPECTIVA%2BPICTORUM%2BET%2BARCHITECTORUM.jpg The Works - Antecedents: Representation and Calibration Andrea Pozzo, (Trentino/Italian, 1642-1709) “Figura 17,” From, PERSPECTIVA PICTORUM ET ARCHITECTORUM. (1693-1698, Rome.) Engraving, Ink on foolscap, First Edition. Plate Marks: 6 ½ x 9 1/8 Private Collection of George Dodds https://images.squarespace-cdn.com/content/v1/600757ef1485f7235b52cc94/c51b482b-1364-4ac1-a202-912ca246a85e/17.Piranesi+-+Chimneypiece+in+the+Egyptian+style+Mummy+superimposed+on+a+large+caryatid+above+the+lintel.jpg The Works - Antecedents: Representation and Calibration Giovanni Battista Piranesi (Mogliano, Veneto, Italian 1720-1778) “Chimneypiece in the Egyptian style: Mummy superimposed on a large caryatid above the lintel,” Etching, ink on Laid Paper. From, Diverse Maniere d'adornare i cammini ed ogni altra parte degli edifizi desunte all'architettura Egizia, Etrusca, e Greca con un Ragionamento apologetico in defesa dell'Architettura Egizia, e Toscana, opera del Cavaliere Giambattista Piranesi Architetto. (1769). Probably a later Paris Edition. Private Collection of George Dodds https://images.squarespace-cdn.com/content/v1/600757ef1485f7235b52cc94/55a935a2-983a-4b50-9b9d-124ba3841a46/20.Stuart+and+Revett+-+CaryatidComposite.jpg The Works - Antecedents: Representation and Calibration James Stuart (1713-1788) and Nicholas Revett (1720-1804), (with J. J. Hittorff), Les Antiquites d'Athenes et de l'Attique Mesurees et Dessinees, Tome Premier-Cinquieme (1-5 in a single volume), 1881, First edition, Librairie Centrale d'Architecture, Paris, French text, hardcover, folio (18 ½ x 12 ¾ in.) Stuart and Revett traveled through, and documented the antiquities of, southern Italy and Greece from 1748 to 1755. They published their work in a series of five separate volumes. The first volume, published in 1762 in London, had more than 500 subscribers (a huge number for the period) was titled: The Antiquities of Athens Measured and Delineated by James Stuart F R S and F S A and Nicholas Revett, Painters And Architects. Volume One. Few of the subscribers were architects or builders, which limited the impact of the work as a design sourcebook but magnified its influence among the collecting and “patron class”. It was also well received by scholars, antiquarians and gentleman-amateurs, all of whom were hungry for demonstrations of Greek hegemony over the arts. Stuart’s design of the book’s binding had a Neo-Classical design and inspired architect Robert Adam to design similar presentation bindings for his work on the antiquities of Spalatro. Antiquities of Athens helped shape the European understanding of ancient Greece, much to the chagrin of Piranesi. It brought an entirely new design vocabulary to late-8th-century European architecture and design, which Piranesi spent much of the last two decades of his life to counter. The drawings occupying the center of this exhibition were produced in support of that propaganda effort to raise the art and architecture o the Italian peninsula (based on Eyptian and Etruscan roots) over than of Greece. Ironically, Piranesi’s own etchings of fireplace surrounds became an essential accompaniment to the Stuart and Revett sourcebook for the 19th-century Greek Revival in The United States and Great Britain. From the Private Collection of George Dodds https://images.squarespace-cdn.com/content/v1/600757ef1485f7235b52cc94/bfa09479-b835-47fa-aba9-2f5537b8e735/18.Ceen+Nolli.jpg The Works - Antecedents: Representation and Calibration Giambattista Nolli (1692-1756). Nuova pianta di Roma, 1748. Facsimile by Allan Ceen, (1984) from a set owned by Henry A. Millon, Dean of The National Gallery of the Art, (CASVA), Washington, DC. 12 plates (69 ¼ in. x 81 ¾ in.) Private Collection of George Dodds https://images.squarespace-cdn.com/content/v1/600757ef1485f7235b52cc94/a284da8f-30c8-442f-966e-ecf2ef7636fb/19.Vasi+Guidebook.jpg The Works - Antecedents: Representation and Calibration Giuseppe Vasi (Corleone, Italian 1710-1782) Indice Istorico del gran prospetto di Roma: Ovvero, Itinerario istruttivo per ritrovare con facilita. Tutte le antiche e moderne magnificenze de Roma, con una breve digressione sopra alcune citta e castelli suburbani. Rome, 1765. Translation: Historical index of the great summary of Rome: That is, an instructive itinerary to ease and facilitate locating all the ancient and modern magnificence of Rome, with a brief digression including some suburban cities and castles. Hardcover, 6.5 x 3.75 inches. Contemporary full vellum, gilt spine and title. Private Collection of George Dodds https://images.squarespace-cdn.com/content/v1/600757ef1485f7235b52cc94/f4621eed-0fcc-462e-af91-47b7ffeb7994/22.Vasi+Plan.jpg The Works - Antecedents: Representation and Calibration Giuseppe Vasi (Corleone, Italian 1710-1782) Vasi (Giuseppe) Nuova Pianta di Roma in Prospettiva Dedicata a Sua Eccellenza il Principe d'Abondio Rezzonico Senatore di Roma, Half-size Reproduction of Plan of Rome with a key to 217 locations. Original is engraving, ink on two sheets of laid paper conjoined 29 7/8 in. x 40 1/8 in.), full margins, printed in Rome, 1781. The plan was to accompany the earlier Indice Istorico del gran prospetto di Roma….(1765) and folded into an easy-to-carry “portfolio-sized” addition to the guidebook. From the Private Collection of George Dodds