With the election of the Venetian Pope Clement XIII (reigned 1758 –1769), the 1760s became a golden age of patronage for Piranesi, who won financial support for a series of impressive polemical folios: Della magnificenza ed architettura de' Romani (1761 Concerning the magnificence and architecture of the Romans) Il Campo Marzio dell'antica Roma ( 1762 The Campus Martius ofĪncient Rome), and others. His four-volume treatise, Le antichit à romane (1756 The antiquities of Rome), pioneered new archaeological methods and techniques of illustration, and its publication quickly won him international recognition he became a leading protagonist for Rome in the furious controversy provoked by the excessive claims of Hellenic originality by promoters of the Greek revival. His personal contact with visiting designers such as William Chambers, Robert Mylne, George Dance, John Soane, and, above all, Robert and James Adam, enabled him to exert a critical influence on the development of avant-garde British architecture.ĭuring the 1750s archaeology became increasingly important to Piranesi. By these means Piranesi was to exercise a seminal influence on visiting artists, architects, and patrons in Rome over the course of nearly four decades. Such was the intention behind his first publication, Prima parte di architetture e prospettive (1743 Part one of architecture and perspectives) as well as a group of arcane prison compositions, Carceri d'invenzione (c. Piranesi's main creative energies were concentrated on developing the architectural fantasy, or capriccio, as a device for formal experiment, creative release, and a stimulus for contemporary architects, whose designs he thought had failed to measure up to the ruined grandeur around them. These theatrical images were to generate a highly charged emotional perception of the Eternal City and its environs that has lasted to the present day. Around 1748 he began to issue his magisterial views of Rome, Vedute di Roma (135 plates), which he published individually, or in groups, throughout the rest of his career. As a graphic artist of genius he was to transform the mundane topographical view into a highly sophisticated means of architectural communication -based on a strongly practical understanding of ancient technology -as well as a vehicle of powerful emotional expression. Moving in 1740 to Rome, where he spent the larger part of his life, a lack of practical commissions led him to develop skills in etching souvenir views, or vedute, for the grand tour market. The son of a stonemason and master builder, he spent his first twenty years in Venice training in architecture and stage design, and was strongly influenced by the local tradition of topographical art represented by Canaletto and the etched fantasies of Marco Ricci (1676 –1729) and Giovanni Battista Tiepolo (1696 –1770). By means of over a thousand etched plates and his theoretical defense of creative fantasy, Piranesi revolutionized the European perception of Roman antiquity and exerted a major influence on many of the leading architects and designers of European neoclassicism. Bildwerdung der Antike - Druckgrafiken bis 1869, curated by Cristina Ruggero und Ulrich Pfisterer, Zentralinstitut für Kunstgeschichte München, 27.06.–.PIRANESI, GIOVANNI BATTISTA (1720 –1778), Venetian architect, engraver, and archaeologist. With their (literary and visual) records, the representations and concepts, finds and impressions, aspects and notions of the Villa Hadriana were transmitted, which raises numerous questions. The various areas of inquiry primarily focus on the receiver groups of artists, architects, and draughtsmen, but also the excavators, restorers, and art dealers. The reception, presentation, and transformation of meaning of the portable decorative elements from the villa complex will be examined on selected examples for their "recontextualization" in private collections and museums. It functioned on the one hand by creating a common experiential space as a basis for European understanding, but served on the other hand – beyond broadening the respective horizons – to develop individual and national concepts. was "rediscovered" in the Renaissance and since then could be considered a surface for projecting an idealized ancient culture. The complex realized by Emperor Hadrian between 117 and 138 C.E. 2, Etching, 550 x 800 mm (Photo public Domain) 'Warwick Vase' from: Giovanni Battista Piranesi, Vasi, candelabri, cippi…, 1778–1780, vol.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |