Gian Pietro Zanotti Collection

Roman alphabet against architectural backgrounds, from G. P. Zanottis Il Claustro di San Michele in Bosco di Bologna, 1776

Plate 6: Ulysses driving a burning stake into Polyphemus eye, 1756

Plate 1: cross-section of the Hall of the Institute of Bologna, which served as the residence for the Clementine Academy, with fresco paintings by Pellegrino Tibaldi in the vault, 1756

Plate 7: the blinded Polyphemus, guarding the entrance of his cavern, with Ulysses and his companions escaping below by covering themselves with ram skins, 1756

Plate 27: Ulysses received by Alcinous king of Phoeacia and his Queen Areta after his ship... 1756
Plate 27: Ulysses received by Alcinous king of Phoeacia and his Queen Areta after his shipwreck, 1756

Plate 2: cross-section of the Hall of the Institute of Bologna, 1756

Plate 26: Ulysses escaping on a raft with the aid of the sea deity Leucothea, 1756

Plate 24: Ulysses's companions stealing the oxen sacred to Apollo, 1756

Plate 22: two nude figures wearing veils, 1756. Creators: Bartolomeo Crivellari
Plate 22: two nude figures wearing veils, 1756

Plate 19: figure seen from behind with left hand raised, 1756

Plate 18: two nude figures wearing veils, seen from behind, 1756

Plate 17: two nude figures wearing veils, 1756. Creators: Bartolomeo Crivellari
Plate 17: two nude figures wearing veils, 1756

Plate 20: bearded figure, half clothed, 1756. Creators: Bartolomeo Crivellari
Plate 20: bearded figure, half clothed, 1756

Plate 15: mythological figure wearing a helmet and holding a shield, 1756

Plate 5: view of the ceiling with its ornaments and frescoed paintings, 1756

Plate 16: mythological figure holding a mirror, 1756. Creators: Bartolomeo Crivellari
Plate 16: mythological figure holding a mirror, 1756

Plate 8: Ulysses receiving the winds in a leather bag from Aeolus, 1756

Plate 34: Auriga, the charioteer, falls from the chariot at center, with three horses at l... 1756
Plate 34: Auriga, the charioteer, falls from the chariot at center, with three horses at left, 1756

Three bearded men, one wearing fur, 1756. Creators: Bartolomeo Crivellari, Gabriel Soderling
Three bearded men, one wearing fur, 1756

A standing man in a niche reaching forward with one arm, 1756. Creators: Bartolomeo Crivellari, Gabriel Soderling
A standing man in a niche reaching forward with one arm, 1756

Plate 40: the division of the elect from the reprobate, 1756. Creators: Bartolomeo Crivellari, Gabriel Soderling
Plate 40: the division of the elect from the reprobate, 1756

Plate 41: Saint John the Baptist preaching to a large crowd and baptizing children, 1756

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Gian Pietro Zanotti, a renowned artist of the Roman alphabet against architectural backgrounds, left an indelible mark on the art world. His works, such as Plate 6 depicting Ulysses driving a burning stake into Polyphemus' eye in 1756, showcased his exceptional talent and attention to detail. In Plate 1, Zanotti's cross-section of the Hall of the Institute of Bologna revealed his mastery in capturing grandeur and intricacy. Plate 7 captured our imagination with its portrayal of the blinded Polyphemus guarding the entrance to his cavern. The emotions conveyed through Zanotti's brushstrokes were truly captivating. Equally mesmerizing was Plate 27, where Ulysses was received by Alcinous king of Phaeacia and Queen Areta after his shipwreck in 1756. Collaborating with Bartolomeo Crivellari and Gabriel Soderling for Plates 2 and 26 respectively, Zanotti continued to amaze us with his ability to bring mythological scenes to life. Whether it was Ulysses escaping on a raft with Leucothea's aid or Ulysses' companions stealing Apollo's sacred oxen in Plate 24, each composition exuded artistic brilliance. Zanotti also explored other themes beyond mythology. Plates like number 22 depicted two nude figures wearing veils while number 19 showcased a figure seen from behind with their left hand raised. These pieces demonstrated Zanotti's versatility as an artist who could capture beauty from various perspectives. Gian Pietro Zanotti's contributions to art are nothing short of extraordinary. Through his skillful brushwork and imaginative compositions like those found in Plates 6, 17, and18 - he transported viewers into mythical realms while simultaneously showcasing human form at its finest in plates like numbers19and22. His legacy will forever be celebrated as a testament to his artistic genius.