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Gold-Covered Commode, bronze, 18th century
Gold-Covered Commode, bronze, Europe, Paris, France
Desk, North and Central America, Boston, Massachusetts
Painted Chest of Drawers LACMA 60.47.1
Dressing table, 18th century, Philadelphia, Pennsylvania
Kamerscherm, tweebladig, gestoffeerd met een weefsels met een oosterse danser en muzikant en dierenscènes uit de fabels van La Fontaine
Lutherse predikanten te Amsterdam
Chest-on-frame, Connecticut - Public domain dedication photo
Snuffbox, 18th century, Paris, France
Related
Plan of a spacious and magnificent College designed after the ancient gymnasia of the Greeks and the baths of the Romans..., from Opere Varie di Architettura, prospettive, grotteschi, antichità; inventate, ed incise da Giambattista Piranesi Architetto Veneziano (Various Works of Architecture, perspectives, grotesques and antiquities; designed and etched by Giambattista Piranesi, Venetian Architect)
Chimneypiece in the Egyptian style: Mummy superimposed on a large caryatid above the lintel (Ch. à l'égyptiennne surmontée d'une grande cariatide contre laquelle s'applique une momie), from Diverse Maniere d'adornare i cammini ed ogni altra parte degli edifizi...(Different Ways of ornamenting chimneypieces and all other parts of houses)
Chimneypiece in the Egyptian style, from Diverse Maniere d'adornare i cammini (...) (Different Ways of ornamenting chimneypieces and all other parts of houses)
Greeks Still Master Architects. This view from the gates of the modern Olympic stadium at Athens demonstrates that the Greeks still retain some of the genius that their buildings world famous centuries ago. The marble columns and roofs of this building are reflections of the structures on the Acropolis in the dim background where the Ancient Greeks constructed the "wonder city." After the armistice this stadium came under American control being used by the Red Cross as a station for distributing relief to the thousands of Greek refugees driven form their homes by the enemy
Portrait of G.B. Piranesi in imitation of an antique bust, from Opere varie di Architettura, prospetive, grotteschi, antichità; inventate, ed incise da Giambattista Piranesi Architetto Veneziano (Various Works of Architecture, perspectives, grotesques, and antiquities, designed and etched by Giambattista Piranesi, Venetian Architect)
Prima Parte di Architettura, e Prospettive inventate, ed incise da Giambatista Piranesi Architetto Veneziano fra gli Arcadi Salcindio Tiseio; Lettere di Giustificazione a Milord Charlemont plates, which were adapted to appear in the Opere Varie; Opere Varie; Grotteschi; Carceri; Archi Trionfali, and Trofei di Ottaviano Augusto
Diversi monumenti dell' antica architettura Egiziana
Plate 3: 'Ancient mausoleum erected for the ashes of a Roman emperor' (Mausoleo antico eretto per le ceneri d'un imperadore romano), from the series 'Part one of architecture and perspectives: drawn and etched by Gio. Batt'a Piranesi, Venetian Architect: dedicated to Nicola Giobbe' (Prima parte di Architetture, e prospettive inventate, ed incise da Gio. Batt'a Piranesi Architetto Veneziano dedicate al Sig. Nicola Giobbe)
Various Lamps and a vase encusted with cameos, from Vasi, candelabri, cippi, sarcofagi, tripodi, lucerne, ed ornamenti antichi disegnati ed incisi dal Cav. Gio. Batt. Piranesi (Vases, candelabra, grave stones, sarcophagi, tripods, lamps and ornaments designed and etched by Cavaliere Giovanni Battista Piranesi)
Diverse Maniere d'adornare i cammini ed ogni altra parte degli edifizi desunte dall'architettura Egizia, Etrusca, e Greca con un Ragionamento Apologetico in defesa dell'Architettura Egizia, e Toscana, opera del Cavaliere Giambattista Piranesi Architetto (Diverse Ways of ornamenting chimneypieces and all other parts of houses taken from Egyptian, Etruscan, and Grecian architecture with an Apologia in defense of the Egyptian and Tuscan architecture, the work of Cavaliere Giambattista Piranesi)
Summary
Public domain image, 17th-18th century drawing, free to use, no copyright restrictions image - Picryl description
A veduta, plural vedute, is a highly detailed, usually large-scale painting or, more often print, of a cityscape or some other landscape. The painters of vedute are referred to as vedutisti. Veduta was introduced by northern European artists, most likely Flanders who worked in Italy, such as Paul Brill (1554–1626), a landscape painter who produced a number of marine views and scenes of Rome that were purchased by visitors. Among the most famous of the vedutisti are four Venetians. Canaletto was probably the greatest of the vedutisti, produced Venetian architecture works. Giacomo Guardi (1678–1716), Giannantonio Guardi (1699–1760), and Francesco Guardi (1712–93), also produced a great number of views of Venice. Giovanni Pannini (c. 1691–1765/68) was the first artist to concentrate on painting ruins.
Giovanni Battista Piranesi, famous for his etchings of Rome and of fictitious and atmospheric "prisons" (Le Carceri d'Invenzione), was born in Veneto, the Republic of Venice in a family of stonemasons and architects. He was apprenticed of his uncle, who was a leading architect in Magistrato delle Acque, the state organization responsible for engineering and restoring historical buildings. From 1740, he worked in Rome as a draughtsman for Marco Foscarini, the Venetian ambassador. He worked with pupils of the French Academy in Rome to produce a series of vedute (views) of the city. From 1743 to 1747 he was back in Venice where he often visited Giovanni Battista Tiepolo. In 1748–1774, back in Rome, he created a series of vedute of the city which established his fame. In 1761 he became a member of the Accademia di San Luca and opened a printing facility of his own. He died in Rome in 1778, and was buried in the church he had helped restore, Santa Maria del Priorato. His tomb was designed by Giuseppi Angelini.
Printmaking in woodcut and engraving came to Northern Italy within a few decades of their invention north of the Alps. Engraving probably came first to Florence in the 1440s, the goldsmith Maso Finiguerra (1426–64) used the technique. Italian engraving caught the very early Renaissance, 1460–1490. Print copying was a widely accepted practice, as well as copying of paintings viewed as images in their own right.
The Etruscan civilization was developed by a people of Etruria in ancient Italy with a common language and culture who formed a federation of city-states. After conquering adjacent lands, its territory covered at its greatest extent, roughly what is now Tuscany, western Umbria, and northern Lazio, as well as what are now the Po Valley, Emilia-Romagna, south-eastern Lombardy, southern Veneto, and western Campania. The earliest evidence of a culture that is identifiably Etruscan dates from about 900 BC. This is the period of the Iron Age Villanovan culture, considered to be the earliest phase of Etruscan civilization, which itself developed from the previous late Bronze Age Proto-Villanovan culture in the same region. Etruscan civilization endured until it was assimilated into Roman society. Assimilation began in the late 4th century BC as a result of the Roman–Etruscan Wars; it accelerated with the grant of Roman citizenship in 90 BC, and became complete in 27 BC, when the Etruscans' territory was incorporated into the newly established Roman Empire.
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