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Zanotti Collection

Fabrizio Zanotti, an Italian artist, was known for his intricate and captivating artworks

Background imageZanotti Collection: Fabrizio Zanotti

Fabrizio Zanotti Paraguay Bmw PGA Championship 2009 Wentworth Club, Surrey, England 21 May 2009 Date: 21 May 2009

Background imageZanotti Collection: The Academia Clementina, Bologna, with a Nude being Positioned by the Drawing Master

The Academia Clementina, Bologna, with a Nude being Positioned by the Drawing Master
827583 The Academia Clementina, Bologna, with a Nude being Positioned by the Drawing Master, the Farnese Hercules beyond (black chalk, pen and brown ink with brown wash) by Zanotti

Background imageZanotti Collection: Roman alphabet against architectural backgrounds, from G. P

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

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

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

Background imageZanotti Collection: Plate 1: cross-section of the Hall of the Institute of Bologna

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

Background imageZanotti Collection: Plate 7: the blinded Polyphemus, guarding the entrance of his cavern

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Background imageZanotti Collection: A standing man in a niche reaching forward with one arm, 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

Background imageZanotti Collection: Plate 40: the division of the elect from the reprobate, 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

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

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

Background imageZanotti Collection: EUSTACHIO ZANOTTI (1709-1782). Italian astronomer and engineer. Steel engraving

EUSTACHIO ZANOTTI (1709-1782). Italian astronomer and engineer. Steel engraving, 19th century


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Fabrizio Zanotti, an Italian artist, was known for his intricate and captivating artworks. One of his notable works is "The Academia Clementina, Bologna, with a Nude being Positioned by the Drawing Master. " This piece showcases Zanotti's mastery in capturing the human form and his attention to detail. Zanotti's art often incorporated Roman alphabet against architectural backgrounds, as seen in Plate 6: "Ulysses driving a burning stake into Polyphemus' eye. " This depiction from 1756 portrays the intense moment from Homer's Odyssey when Ulysses seeks revenge on the Cyclops who had previously harmed him. In Plate 1: "Cross-section of the Hall of the Institute of Bologna, " Zanotti reveals his ability to create grand compositions that transport viewers into majestic spaces. The intricacies and precision showcased here highlight Zanotti's technical prowess. Plate 7 presents us with another scene from Ulysses' journey – "the blinded Polyphemus guarding the entrance of his cavern. " Through this artwork, Zanotti captures both the strength and vulnerability of this mythical creature. Collaborating with artists Bartolomeo Crivellari and Gabriel Soderling in Plates 27 and 26 respectively, Zanotti depicts pivotal moments in Ulysses' adventures. In Plate 27: "Ulysses received by Alcinous king of Phaeacia, " we witness Ulysses finding refuge after escaping various perils at sea. Plate 26 showcases Ulysses' resourcefulness as he escapes on a raft aided by Leucothea, a sea deity. It also delves into mythological tales beyond Ulysses' journey. In Plate 24: "Ulysses's companions stealing oxen sacred to Apollo, " he explores themes of temptation and consequences within Greek mythology.