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Synopsis
The term "Capriccio architettonico" is first used in the 17th century terminology to denote single or multiple "architetture", such as temples, palaces, churches or buildings, mostly inspired to the classical genre, often featuring characters relating with elements of landscape. These are compositions where reality interlaces with fantasy, in order to prompt emotions and a certain gratification for the perspective tridimensional "rightness" of the invention represented, which may be directly or partially linked to factual data. As a matter of fact, since its first autonomous exemplifications, or at least since those focused mainly on the cited subjects, this genre intertwined with the "veduta" through the insertion of a realistic core in a fantasy context, or conversely of a fantasy architecture in a realistic environment. Hereby, different solicitations have followed and succeeded, in which realism and fantasy, rationality and feelings, decorative and interpretative purposes are involved together. However, in this publication I intended to follow this genre's evolution in Italy throughout the 17th and 18th centuries, tracing an excursus which finds its lodestars, at the beginning and at the end of the process, in Viviano Codazzi and Gian Paolo Panini. At the same time Rome, with its ruins and remains of architectures and sculptures is of course the heart, the source both tangible and ideal of the most immediate stimulations. Nevertheless, I soon realized that it was not possible to confine my work to the specific instances that took place in Rome, since many protagonists of the trend operated away from the city, like Codazzi himself, whose activity started out in Naples, where he worked for at least two decades before going to Rome. The same applies to Giovanni Ghisolfi, who represented an essential vehicle between the two cited personalities.
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- PublisherET GRAPHIAE
- Publication date2015
- ISBN 10 8890868465
- ISBN 13 9788890868467
- BindingHardcover
- LanguageMultiple languages
- Edition number1
- Number of pages443
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Il Capriccio architettonico in Italia nel XVII e XVIII secolo.
Seller: EDITORIALE UMBRA SAS, Foligno, PG, Italy
Seller rating 5 out of 5 stars
Condition: Nuovo. 3 voll.ril. in cart. cm 32,5x25, pp 427 + 469 + 443, moltissime tavv. e ill. a col. e b/n. Testo: Ital. e inglese. Manca cofanetto ma esemplare perfetto. - ISBN: 9788890868467. Seller Inventory # 77156
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Capriccio Architettonico in Italia nel XVII e XVIII secolo
Published by
etGraphie, Foligno, 2015
ISBN 10: 8890868465
ISBN 13: 9788890868467
New
Hardcover
First Edition
Seller: Luigi De Bei, PREGANZIOL, TV, Italy
Seller rating 5 out of 5 stars
Rilegato. Condition: nuovo. Dust Jacket Condition: nuovo. prima edizione. Giancarlo Sestieri,IL Capriccio Architettonico in Italia nel XVII e XVIII secolo.Il Capriccio Architettonico termine viene prima utilizzata nella terminologia 17 ° secolo per indicare architetture singolo o multiplo, come templi, palazzi, chiese o edifici, per lo più ispirate al genere classico, spesso con personaggi in materia con elementi di paesaggio. Questi sono composizioni in cui si intreccia realtà e fantasia, al fine di emozioni pronte e una certa gratificazione per la prospettiva giustezza tridimensionale dell'invenzione rappresentata, che può essere direttamente o parzialmente collegato a dati di fatto. È un dato di fatto, fin dai primi esemplificazioni autonome, o almeno in quanto tali opera nella soggetti citati, questo genere intrecciate con veduta attraverso l'inserimento di un'anima realistica in un contesto di fantasia, o viceversa di un'architettura fantasia in un ambiente realistico. Con la presente, diverse sollecitazioni hanno seguito ed è riuscito, in cui ai fini interpretativi realismo e fantasia, razionalità e sentimenti, decorativa e sono coinvolti insieme. Tuttavia, in questa pubblicazione avevo intenzione di seguire l'evoluzione di questo genere s in Italia nel corso dei secoli 17 e 18, tracciando un excursus che trova le sue lodestars, all'inizio e alla fine del processo, in Viviano Codazzi e Gian Paolo Panini. Allo stesso tempo Roma, con le sue rovine e resti di architetture e sculture è, naturalmente, il cuore, la fonte sia tangibile e ideale delle stimolazioni più immediati. Tuttavia, ben presto mi sono reso conto che non era possibile confinare il mio lavoro alle istanze specifiche che hanno avuto luogo a Roma, dal momento che molti protagonisti della tendenza operato lontano dalla città, come Codazzi se stesso, la cui attività iniziato a Napoli, dove ha lavorato per almeno due decenni prima di andare a Roma. Lo stesso vale per Giovanni Ghisolfi, che ha rappresentato un veicolo fondamentale tra i due personalità citate. Nuovo Cofanetto con tre volumi Language : Italian & English text Coll.B 142. Seller Inventory # 014005
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Il capriccio architettonico in Italia nel XVII e XVIII secolo
Seller: FolignoLibri, Foligno, PG, Italy
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Rigida. Condition: Nuovo (New). Tre Volumi con cofanetto. Testo in italiano e inglese. 1340 p., f.to cm 32x25, copertina rigida con cofanetto rigido illustrato, con 1300 illustrazioni a colori e in b/n. NUOVO. Book. Seller Inventory # BC_75465
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Il Capriccio Architettonico in Italia nel XVII e XVIII secolo.
Seller: libreriauniversitaria.it, Occhiobello, RO, Italy
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Il Capriccio Architettonico in Italia nel XVII e XVIII Secolo.
Published by
Associazione culturale EtGraphiae, 2018
ISBN 10: 8890868465
ISBN 13: 9788890868467
New
Hardcover
Seller: Libro Co. Italia Srl, San Casciano Val di Pesa, FI, Italy
Seller rating 5 out of 5 stars
Rilegato. Condition: new. Traduzione di Lollobrigida B.Testo Italiano e Inglese.Foligno, 2018; 3 voll., ril. in cofanetto, pp. 1200, 1500 ill. b/n e col., 1500 tavv. b/n e col., cm 25,5x34. The term "Capriccio architettonico" is first used in the 17th century terminology to denote single or multiple "architetture", such as temples, palaces, churches or buildings, mostly inspired to the classical genre, often featuring characters relating with elements of landscape. These are compositions where reality interlaces with fantasy, in order to prompt emotions and a certain gratification for the perspective tridimensional "rightness" of the invention represented, which may be directly or partially linked to factual data. As a matter of fact, since its first autonomous exemplifications, or at least since those focused mainly on the cited subjects, this genre intertwined with the "veduta" through the insertion of a realistic core in a fantasy context, or conversely of a fantasy architecture in a realistic environment. Hereby, different solicitations have followed and succeeded, in which realism and fantasy, rationality and feelings, decorative and interpretative purposes are involved together. However, in this publication I intended to follow this genre's evolution in Italy throughout the 17th and 18th centuries, tracing an excursus which finds its lodestars, at the beginning and at the end of the process, in Viviano Codazzi and Gian Paolo Panini. At the same time Rome, with its ruins and remains of architectures and sculptures is of course the heart, the source both tangible and ideal of the most immediate stimulations. Nevertheless, I soon realized that it was not possible to confine my work to the specific instances that took place in Rome, since many protagonists of the trend operated away from the city, like Codazzi himself, whose activity started out in Naples, where he worked for at least two decades before going to Rome. The same applies to Giovanni Ghisolfi, who represented an essential vehicle between the two cited personalities; he was from Milan, where he certainly worked the most, though drawing vital inspiration from Rome, where he sojourned twice. Roman antiquities, further glorified by the growing fascination for archaeology were still in the 18th century the core for experts and connoisseurs of the themes of the present treatise. Suffice it to say that the great Venetian masters were extremely interested in those; Canaletto, operating in Rome in about 1719 as a scenographer, was fascinated by the ruins, as well as Luca Carlevarjis and Marco Ricci had been before him, although their presence in Rome is not attested. From Venice my research has inevitably extended to Bologna and Emilia, involving my interests in the influence of the Bibiena family, with corresponding examples - also painted ones -, with Paltronieri and Bigari as major exponents, surrounded by a large group of painters who combined the Bibiena's lesson with the genre of Capriccio. Panini came from Emilia and from a training in scenography as well; with him, the architectures' trend became specifically Roman and acquired an European dimension, as attested by his international success, especially in France, which I have traced only for some most meaningful artists. Finally, Gianbattista Piranesi also came to Rome from Venice; here he was trained and gave the ultimate determining contribution to the genre, centred on classical antiquities in general and Roman in particular, of which he was a fierce defender. His work was confined to engraving though; it lies outside the goal I had set for this treatise. Libro. Seller Inventory # 2710867
Quantity: 2 available
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Il Capriccio Architettonico in Italia nel XVII e XVIII secolo
Published by
Etgraphiae, Foligno, 2015
ISBN 10: 8890868465
ISBN 13: 9788890868467
New
Hardcover
First Edition
Seller: Luigi De Bei, PREGANZIOL, TV, Italy
Seller rating 5 out of 5 stars
Couverture rigide. Condition: Neuf. Dust Jacket Condition: Neuf. prima edizione. Il Capriccio Architettonico in Italia nel XVII e XVIII secolo Author: Sestieri, Giancarlo Price: $725.00 = 600,00 Eur ISBN: 9788890868467 Description: Foligno: Etgraphiae, 2015. 3 vols. 31cm., hardcover, slipcase, 400pp. anthology of 74 artists, 1500 works illustrated, most in color. Italian-English text. Summary: The term "Capriccio architettonico" is first used in the 17th century terminology to denote single or multiple "architetture", such as temples, palaces, churches or buildings, mostly inspired to the classical genre, often featuring characters relating with elements of landscape. These are compositions where reality interlaces with fantasy, in order to prompt emotions and a certain gratification for the perspective tridimensional "rightness" of the invention represented, which may be directly or partially linked to factual data. As a matter of fact, since its first autonomous exemplifications, or at least since those focused mainly on the cited subjects, this genre intertwined with the "veduta" through the insertion of a realistic core in a fantasy context, or conversely of a fantasy architecture in a realistic environment. Hereby, different solicitations have followed and succeeded, in which realism and fantasy, rationality and feelings, decorative and interpretative purposes are involved together. However, in this publication I intended to follow this genre's evolution in Italy throughout the 17th and 18th centuries, tracing an excursus which finds its lodestars, at the beginning and at the end of the process, in Viviano Codazzi and Gian Paolo Panini. At the same time Rome, with its ruins and remains of architectures and sculptures is of course the heart, the source both tangible and ideal of the most immediate stimulations. Nevertheless, I soon realized that it was not possible to confine my work to the specific instances that took place in Rome, since many protagonists of the trend operated away from the city, like Codazzi himself, whose activity started out in Naples, where he worked for at least two decades before going to Rome. The same applies to Giovanni Ghisolfi, who represented an essential vehicle between the two cited personalities; he was from Milan, where he certainly worked the most, though drawing vital inspiration from Rome, where he sojourned twice. Roman antiquities, further glorified by the growing fascination for archaeology were still in the 18th century the core for experts and connoisseurs of the themes of the present treatise. Suffice it to say that the great Venetian masters were extremely interested in those; Canaletto, operating in Rome in about 1719 as a scenographer, was fascinated by the ruins, as well as Luca Carlevarjis and Marco Ricci had been before him, although their presence in Rome is not attested. From Venice my research has inevitably extended to Bologna and Emilia, involving my interests in the influence of the Bibiena family, with corresponding examples - also painted ones -, with Paltronieri and Bigari as major exponents, surrounded by a large group of painters who combined the Bibiena's lesson with the genre of Capriccio. Panini came from Emilia and from a training in scenography as well; with him, the architectures' trend became specifically Roman and acquired an European dimension, as attested by his international success, especially in France, which I have traced only for some most meaningful artists. Finally, Gianbattista Piranesi also came to Rome from Venice; here he was trained and gave the ultimate determining contribution to the genre, centred on classical antiquities in general and Roman in particular, of which he was a fierce defender. His work was confined to engraving though; it lies outside the goal I had set for this treatise. Language : Italian and english text Size: 310 X240 mm.- Language : Italian & english text - Coll. B 142. Seller Inventory # 008163
Quantity: 1 available