Giuseppe Galli da Bibiena

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Giuseppe Galli Bibiena

Giuseppe Galli da Bibiena (also Bibiena, Galli, Galli Bibiena) (born January 5, 1696 in Parma , † March 12, 1757 in Berlin ) was a stage designer , draftsman, architect , theater engineer and Baroque painter .

Life

Giuseppe Galli Bibiena came from the family of artists Galli da Bibiena . His father Ferdinando , his uncle Francesco , his brothers Antonio and Alessandro and his son Carlo worked in Germany, Austria and Italy as architects, outfitters and set designers. Giuseppe Galli da Bibiena designed many decorations for funeral ceremonies and weddings, planned theater machines, staged celebrations and theatrical performances, built theaters and designed decorations for aristocratic palaces . He learned from his father and then went with him and his brother Alessandro to Barcelona to the court of the future Charles VI. and followed this to Vienna in 1712 . His uncle Francesco also worked there. After the death of Charles VI. he became director of architecture at the Accademia Clementina in Bologna . At the same time he worked in Vienna as the first court theater engineer and court architect. Because of many orders, he was represented there by his father. One of his students was the painter and set designer Carl Friedrich Fechhelm .

In 1719 he married Eleonore Kinski in Vienna. They had seven children, and he later worked with his son Carlo. From 1753 he was permanently engaged by Friedrich II in Berlin , where he worked as a court architect until his death.

Works

  • 1716 Set the opera Angelica Vincitrice di Alcina by Pietro Pariatis, performance on the pond of the Favorita summer residence for the birth of Archduke Leopold
  • 1723 Production of Costanza e fortezza in an open-air theater built by him with a 65-meter-deep stage in the park of the Hradschin in Prague on the occasion of the coronation ceremony of Charles VI. to the King of Bohemia.
  • First decoration with painted, transparent scenes in Linz in 1732 during the performance of L'asilo d'Amore .
  • In 1749/50 he expanded the opera house at the Zwinger in Dresden and deepened the stage space.
  • For the Gurk Cathedral Giuseppe in 1740 designed the pompous pulpit with his brother Antonio.
  • Commissioned by Margravine Wilhelmine , he designed the furnishings for the newly built opera house in Bayreuth from 1745 to 1748 . His son Carlo carried out the job and supervised the construction.

effect

In contrast to the central perspective of the Renaissance , the Bibiena often designed a cornering of the decoration in which the rooms taper and nestle towards several vanishing points , thus simulating infinity. The first-time use of painted transparent materials created the impression of endless architecture. This suggestion of infinite spaces is perhaps influenced by the worldview since Giordano Bruno .

His drawings of endlessly nested dungeons, the carceri , had a strong influence on Giovanni Battista Piranesi .

Fonts

  • Theater decorations, interior design and perspectives. Baroque style designs. Berlin 1888.

literature

  • KG Saur (Hrsg.): General artist lexicon . The visual artists of all times and peoples. Volume 10, Leipzig 1995, pp. 480-481.
  • Margarete Baur-Heinhold: Theater of the Baroque. Festive stage play in the 17th and 18th centuries. Callwey, Munich 1966, pp. 131-132, 137, 181-182.
  • Ekhart Berckenhagen:  Galli Bibiena, Giuseppe. In: New German Biography (NDB). Volume 6, Duncker & Humblot, Berlin 1964, ISBN 3-428-00187-7 , p. 49 f. ( Digitized version ).
  • Franz Hadamowsky: The Galli-Bibiena family in Vienna. Life and work for the theater. Prachner, Vienna 1962, pp. 9-11.
  • Ulrike Knall-Brskovsky: Italian Quadraturists in Austria. Dissertation. University of Vienna 1981. Böhlau, Vienna, Cologne, Graz 1984, ISBN 3-205-06073-3 , pp. 111, 189, 231-233.

Web links

Commons : Giuseppe Galli da Bibiena  - Collection of images, videos and audio files

Individual evidence

  1. ^ Heinrich Magirius : The Semperoper Dresden: Building history, equipment, iconography , p. 13. Verlag Edition Leipzig, Leipzig 2004.