Pietro Giacomo Palmieri (Bologna, 1737-Torino, 1804)

This thesis investigates the work of Pietro Giacomo Palmieri, draftsman, printmaker and painter, born 7 December 1737 in Bologna; protected by Cardinal Lambertini, Palmieri received his training at the Clementina Academy and under the guidance of Ercole Graziani, who, about the same year, was also master Gaetano Gandolfi. The artist has received several commissions from printers citizens, enjoying a privileged relationship with Luigi Guidotti. The analysis of the works related to the Bolognese period allows you to verify the debt Palmieri against Graziani and in general the classical vein Bolognese comeback Donato Creti and Marcantonio Franceschini. The exercise of the copy prints of the masters, preparatory academic education imparted at the Institute, transmits to Palmieri a custom imitation of the style of others - in particular, in addition to the classic models, the Nordic countries, especially the Netherlands - a attitude that figure will become characteristic of his language, nurtured a taste for pastiche, made up of references and citations educated, which welcomes virtuoso use of the pen tool Palmieri dominates with an ease that allows him to pretend the exchange between techniques. He moved as a result of Parma, where, thanks to the protection of the Minister Du Tillot, he was appointed professor at the Academy for the year 1771. In 1773 reaches its patron in Paris, where he reports with important figures such as Basan and Wille. The catalogs of the sales in Paris - in which they are especially praised the admirable quality techniques Palmieri, the "easy" part of the pen, its ability to imitate the style of others, and to "exchange techniques" - bear witness to the role played by Palmieri part of collecting. The absence of mention of Palmieri in literary sources on history and artistic located right in his involvement with the market and the absence of relations with the official channels of government entity. In 1778 he went to Turin, where his works are required by the court and the aristocracy local and where he died December 18, 1804, two years after receiving his appointment as professor of drawing in the Albertina Academy. His stay in Turin affected the collections of Dutch drawings and prints of the House of Savoy and the local painting of landscape.