Accompanied by a publication offering a complete survey of Piranesi’s work as a draftsman, the exhibition will be the most comprehensive look at Piranesi’s drawings in more than a generation. , Collected Piranesi works in hi-rez, Vedute di Roma, Carceri, Le antichit Romane and Collection of drawings engraved after Guercino. While early modern artist Giovanni Battista Piranesi has been principally known for his drawings and etchings of ancient Rome, new research from Heather Hyde Minor, professor of art history at the University of Notre Dame, reinterprets Piranesi’s artistic oeuvre by flipping the works over and reading what is written on the backs. These form the core of the exhibition, which will also include seldom-exhibited loans from a number of private collections. ![]() The Morgan holds the largest and most important collection of Piranesi’s drawings, well over 100 works that encompass his early architectural capricci, studies for prints, measured design drawings, sketches for a range of decorative objects, a variety of figural drawings, and views of Rome and Pompeii. Piranesi Drawings reveals the quality and lasting impact of the pen and chalk studies by a remarkably talented draftsman, as demonstrated by the superb collection at the British Museum. Piranesi drawings: visions of antiquity presents all 51 of the Museum’s drawings by Piranesi. Piranesi Drawings reveals the quality and impact of the pen and chalk studies of a remarkably talented artist, as shown by the British Museums superb. While others took pleasure in depicting a sunlit scene, Piranesi brings us a terrifying fantasy. While Piranesi’s lasting fame is based above all on his etchings, he was also an intense, accomplished, and versatile draftsman, and much of his work was first developed in vigorous drawings. Famous for his etchings of Rome that Rome itself could not live up to, Piranesi’s series of fictitious prison etchings anticipate Escher and Kafka and had a great influence on the Romanticists and Surrealists. ![]() ![]() In a letter written near the end of his life, Giovanni Battista Piranesi (1720–1778) explained to his sister that he had lived away from his native Venice because he could find no patrons there willing to support “the sublimity of my ideas.” He resided instead in Rome, where he became internationally famous working as a printmaker, designer, architect, archaeologist, theorist, dealer, and polemicist.
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