By reconsidering three ephemeral artworks presented to the Roman public between 1744 and 1746 – an allegorical sculpted group placed on show in Palazzo Mancini, seat of the French Academy, to celebrate the recovery of Louis XV after a serious illness (September 1744), and two pyrotechnical machines erected in piazza Farnese for the annual Chinea feast and designed as a triumphal arch (June 1745) and a temple (June 1746) – the essay focuses on the French painter and engraver Louis-Joseph Le Lorrain, who lived in Rome as a pensionnaire from 1740 to 1749, and discusses the evolution of his artistic expression in the framework of his relationships with the influential architect Gabriel-Martin Dumont on one side, and Giovanni Battista Piranesi on the other.
Sulla contrastata fortuna del primo Piranesi. Louis-Joseph Le Lorrain, Gabriel-Martin Dumont e tre apparati effimeri riesaminati (Roma, 1744-1746)
ANTINORI, Aloisio
2015-01-01
Abstract
By reconsidering three ephemeral artworks presented to the Roman public between 1744 and 1746 – an allegorical sculpted group placed on show in Palazzo Mancini, seat of the French Academy, to celebrate the recovery of Louis XV after a serious illness (September 1744), and two pyrotechnical machines erected in piazza Farnese for the annual Chinea feast and designed as a triumphal arch (June 1745) and a temple (June 1746) – the essay focuses on the French painter and engraver Louis-Joseph Le Lorrain, who lived in Rome as a pensionnaire from 1740 to 1749, and discusses the evolution of his artistic expression in the framework of his relationships with the influential architect Gabriel-Martin Dumont on one side, and Giovanni Battista Piranesi on the other.I documenti in IRIS sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.
