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 (pîr′ə-nā′zē, pē′rä-nĕ′-), Giovanni Battista 1720-1778.
Italian artist whose etchings of Rome's ruins contributed to the revival of neoclassicism. His depictions of cavernous imaginary prisons influenced later romantic and surrealist art.

Pi′ra·ne′si·an adj.


(Italian piraˈneːsi)
(Biography) Giambattista (dʒambatˈtista). 1720–78, Italian etcher and architect: etchings include Imaginary Prisons and Views of Rome


(ˌpɪr əˈneɪ zi)

Giambattista, 1720–78, Italian architect and engraver.
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Most significant, one could not argue that this edition consisted of "relatively unknown artists": Francis Aljs and Gerhard Richter were among the living participants, joined by such late colleagues as Louise Bourgeois and Giovanni Battista Piranesi.
An early sale was of the previously unrecorded high-key view of the Molo, Venice, from the Bacino di San Marco, which Beddington proposes to be the work of Giovanni Battista Piranesi, who was known to be a view painter before he found fame as an etcher.
El escritor Aldous Huxley, posiblemente a partir de Hugo, nos ofrece una intuicion sobre lo que podria ser la mas dramatica representacion de los estados melancolicos del alma: las famosas carceles metafisicas dibujadas por Giovanni Battista Piranesi en el siglo xvm.
Giovanni Battista Piranesi wrote in the eighteenth century.
en manos de uno de los mas grandes arquitectos sin arquitecturas del siglo XVIII, Giovanni Battista Piranesi .
3) One project by Yale students this year literally outshines the competition: a 4-by-5-foot gold-leafed model of Rome, based on plans by 18th-century polymath Giovanni Battista Piranesi.
The enthusiasm over Etruscan origins at this time was advanced by a famous Italian engraver, Giovanni Battista Piranesi.
Giovanni Battista Piranesi (1720-1778) was distinguished among his contemporaries by his dramatic use of light and shade, his luscious brown-black, black-brown ink, the descriptive perspectives that bring 18th-century Rome to life and his intense imaginative projects.
It is the first major museum exhibition anywhere to be devoted solely to work by Vasi, best known to history as the teacher of a far better-known artist, Giovanni Battista Piranesi.
The frenetic action is unexpectedly punctuated by imagery from literary and artistic sources: Tennyson's Dying Swan is crowned with a dagger in Absence of God VI, whilst architectural structures recall the ruins of Giovanni Battista Piranesi.
Pioneering Italian Giovanni Battista Piranesi was an influential figure whose work paved the way for scores of artists that followed.
Perhaps best known for his virtuoso etchings of ancient and modern Rome, Giovanni Battista Piranesi also opened up new vistas in the world of architectural fantasy.