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1745 TASSO JERUSALEM DELIVERED ILLUSTRATED BY PIAZZETTA
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1745 TASSO JERUSALEM DELIVERED ILLUSTRATED BY PIAZZETTA
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this is the second item of ourspecial Spring Sale see the preview with the complete list at ebay number 2306289991351745 first edition, first issue of Tasso’s «Jerusalem delivered» illustrated by Piazzetta the combats between Christians and Muslims at the end of the First Crusade, during the siege of Jerusalem the most beautiful illustrated book of 18th century and the triumph of rococo style foundation of the poetry of sentiment that influenced greatly Milton and Byron Tasso, Torquato. La Gerusalemme Liberata di Torquato Tasso con le figure di Giambatista Piazzetta alla Sacra Real Maest� di Maria Teresa d’Austria Regina d’Ungheria e di Boemia. In Venezia, Giambatista Albrizzi, 1745 [Venice: Albrizzi: 1745]. In-folio maximo (445x315 mm = 17,5x12,5 inches), contemporary full calf binding, six raised bands, gilt decorations and gilt-lettered title on spine, cc. [14], 254, [1]. Complete. Title page printed in red and black with an allegorical engraving representing the town of Venice. Allegorical frontispiece engraved on copper representing Tasso brought at the top of a laurel, whith joyful Muse all around. Engraved portrait of the Empress Marie Thèrese of Austria as an aged Lady. There are two issues of this work ( cf . Radaeli, 1989), with some typographical variants: this is the first one, with the portrait of the Queen in her maturity. six full page wonderful engraved tail-pieces , and numerous half-page head- and tail-pieces. Delicate engraved head-letters.twenty oustanding full-page plates, at beginning of each chant, engraved by Poliziani from the drawings of Giambattista Piazzetta. first edition, first issue, of refined and sumptuos edition of Tasso ’ s «Jerusalem Delivered» illustrated by Giambattista Piazzetta, printed in lar ge paper ( 445x315 mm = 17,5x12,5 inches) , and considered the most beautiful Venetian imprint of 18th century and the most fine illustrated poetry book of the Rococo period . Examinig attentively each engraving, it is possible to appreciate the exquisite composition and the care for every single detail, together with the great sensuality and poetry of the subjects.Giambattista Piazzetta (1683-1754) was an Venetian rococo painter. son of the sculptor Giacomo Piazzetta, from whom he had early training in wood carving. Starting in 1697 he studied with the painter Antonio Molinari. By Piazzetta’s account, he studied under Giuseppe Maria Crespi while living in Bologna in 1703-05, although there is no record by Crespi of formal tutelage. Piazzetta did find inspiration in Crespi’s art, in which the chiaroscuro of Caravaggio was transformed into an idiom of graceful charm. He was also greatly impressed by the altarpieces created by another Bolognese painter of a half-century earlier, Guercino . Around 1710, he returned to Venice. There he won recognition as a leading artist. Piazzetta created an art of warm, rich color and a mysterious poetry . He often depicted peasantry, even if often in a grand fashion. He was highly original in the intensity of color he sometimes used in his shadows, and in the otherworldly quality he gave to the light which throws part of a composition into relief . The gestures and glances of his protagonists hint at unseen dramas, as in one of his best-known paintings, The Soothsayer (1740, now in Gallerie dell'Accademia, Venice). He brought similar elusiveness to works of a religious nature, such as the Glory of St. Dominic in the Church of Santi Giovanni e Paolo . Also notable are his many carefully rendered drawings of half-length figures or groups of heads. Usually in charcoal or black chalk with white heightening on gray paper, these are filled with the same spirit that animates his paintings, and were purchased by collectors as independent works. In 1750 Piazzetta became the first director of the newly founded Scuola di Nudo, and he devoted himself in the last few years of his life to teaching. In the...
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