Female Printmakers, Printsellers, and Print Publishers in the Eighteenth Century Book contents
- Female Printmakers, Printsellers, and Print Publishers in the Eighteenth Century
- Female Printmakers, Printsellers, and Print Publishers in the Eighteenth Century
- Copyright page
- Dedication
- Contents
- Figures
- Contributors
- Acknowledgements
- Frontispiece
- Introduction: Hidden Legacies
- Part I Self-Presentation and Self-Promotion
- Part II Spaces of Production
- Chapter 5 Living ‘in the bosom of a numerous and worthy family’
- Chapter 6 Divine Secrets of a Printmaking Sisterhood
- Chapter 7 Yielding an Impression of Women Printmakers in Eighteenth-Century France
- Chapter 8 Laura Piranesi incise
- Chapter 9 Etchings by Ladies, ‘Not Artists’
- Part III Competing in the Market: Acumen in Business and Law
- Index
Chapter 8 - Laura Piranesi incise
A Woman Printmaker Following in Her Father’s Footsteps
from Part II - Spaces of Production
Published online by Cambridge University Press: 14 March 2024
- Female Printmakers, Printsellers, and Print Publishers in the Eighteenth Century
- Female Printmakers, Printsellers, and Print Publishers in the Eighteenth Century
- Copyright page
- Dedication
- Contents
- Figures
- Contributors
- Acknowledgements
- Frontispiece
- Introduction: Hidden Legacies
- Part I Self-Presentation and Self-Promotion
- Part II Spaces of Production
- Chapter 5 Living ‘in the bosom of a numerous and worthy family’
- Chapter 6 Divine Secrets of a Printmaking Sisterhood
- Chapter 7 Yielding an Impression of Women Printmakers in Eighteenth-Century France
- Chapter 8 Laura Piranesi incise
- Chapter 9 Etchings by Ladies, ‘Not Artists’
- Part III Competing in the Market: Acumen in Business and Law
- Index
Summary
Today, only twenty signed etchings by Laura Piranesi, daughter of the famous printmaker Giovanni Battista, are known. Her work has never been assessed independently from that produced by her father and brother. Documents newly discovered in Roman archives bring to light fresh biographical details and important milestones including her education in her father’s studio making vedute (cityscapes or vistas), a genre much appreciated by foreign tourists. In this chapter, her prints held in museum collections are, for the first time, catalogued separately from those of her family members. Showing great ability as an etcher, her small views of ancient and modern Roman monuments are in keeping with the subjects of larger views by her father; conversely, her picturesque style is very different.
- Type
- Chapter
- Information
- Female Printmakers, Printsellers, and Print Publishers in the Eighteenth CenturyThe Imprint of Women, c. 1700–1830, pp. 123 - 136Publisher: Cambridge University PressPrint publication year: 2024