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Carceri d'invenzione

March 13, 2024

Carceri d'invenzione, often translated as Imaginary Prisons, is a series of 16 etchings by the Italian artist Giovanni Battista Piranesi, 14 produced from c. 1745 to 1750, when the first edition of the set was published. All depict enormous subterranean vaults with stairs and mighty machines, in rather extreme versions of the capriccio, a favourite Italian genre of architectural fantasies; the first title page uses the term.

Title page, second edition, 1761

The series was started in 1745, when Piranesi was already well-known for more conventional prints of the ancient and modern buildings of Rome. The first state prints were published in 1750 and consisted of 14 etchings, untitled and unnumbered, with a sketch-like look. The original prints were 16" x 21". Piranesi reworked the prints a decade later, giving them second states.[1] For the second edition in 1761, all the etchings were reworked and numbered I–XVI (1–16),[2] with numbers II and V new etchings in the series.

Despite being intensely personal imaginative creations, for Piranesi "a source of self-analysis and of creative release",[3] aspects of the Carceri draw on Piranesi's early training as a set designer for the stage; prison scenes were often called for. Surviving drawings for complicated sets by Filippo Juvarra and Ferdinando Bibiena (both primarily architects) as well as others have evident similaries to the prints in their receding spaces and disappearing staircases. Number XI in the series is also very similar, in reverse, to a Piranesi drawing Study for a palatial interior in the British Museum.[4]

The images influenced Romanticism and Surrealism. While the Vedutisti (or "view makers"), such as Canaletto and Bellotto, more often reveled in the beauty of the sunlit place, in Piranesi this vision takes on what from a modern perspective could be called a Kafkaesque distortion, seemingly erecting fantastic labyrinthine structures, epic in volume. They are capricci, whimsical aggregates of monumental architecture and ruin.[5]

Numbers I to IX were all done in portrait format (vertical), while X to XVI were landscape format (horizontal). Piranesi seems to have been "diffident" about the reception of such unusual images, and the first edition title page does not name him as the artist, nor do most of the individual plates.[6] Though untitled, they are sometimes given titles as below.

Prints edit

First edition (1750) Second edition (1761) Number / Descriptive title Text
    I / Title Plate 1st: ‘’INVENZIONE CAPRIC DI CARCERI ALL ACQUA FORTE DATTE IN LUCE DA GIOVANI BOUCHARD IN ROMA MERCANTE AL CORSO

2nd ’’CARCERI D’INVENZIONE DI G. BATTISTA PIRANESI ARCHIT. VENE’’

(None)   II / The Man on the Rack Inscribed below busts at top, and on the pillar at left with names of "victims punished unjustly by Nero" as recorded by Tacitus.[7]
    III / The Round Tower
    IV / The Grand Piazza
(None)   V / The Lion Bas-Reliefs
    VI / The Smoking Fire
    VII / The Drawbridge Faint inscription on pier near centre
    VIII / The Staircase with Trophies
    IX / The Giant Wheel
    X / Prisoners on a Projecting Platform
    XI / The Arch with a Shell Ornament
    XII / The Sawhorse
    XIII / The Well
    XIV / The Gothic Arch
    XV /The Pier with a Lamp
    XVI / The Pier with Chains 2ND: AD TERROREM INCRESCEN AUDACIAE; IMPIETATI ET MALIS ARTIBUS, from Livy's life of Ancus Martius. INFAME SCELUS ... RI INFELICI SUSPE, a "paraphrase from the same work".[8] There is a third inscription on the stele in the foreground.[9]

Background and creation edit

 
Pietro Labruzzi's portrait of Giovanni Battista Piranesi, 1779

Some preparatory drawings, mostly in ink wash, have survived, but for example two studies for Plate XIV in London and Edinburgh both differ significantly from each other and either state of the print (allowing for a reversal of the image between drawing and etching). But there are drawings for Plates VIII and XII that are close to the etchings.[10] A drawing of Plate XIII appears to be a copy of the first edition print, as yet lacking the changes made for the second edition.[11] Though the second edition was the last, Piranesi continued to print individual plates at least into the 1770s, experimenting with the printing "with regards to the effects of ink, in both extent and colour".[12]

The first edition was reprinted together with Piranesi's archaeological Della Magnificenze ed Architettura de' Romani in 1751. The reworking all the plates underwent before the second edition around 1761, as well as perhaps effacing signs of wear on the plates, saw "heightened tonal contrasts and the introduction of more explicit details... the final traces of Rococo linear atmospheric subtleties were to be replaced by strongly bitten lines and broad areas of tonal contrast".[13]

 
Detail from Plate V

The second edition takes a darker thematic, as well as visual, turn, with the new Plate II featuring a scene of torture near the bottom. In various plates new "penal apparatus in the form of chains, cables, gallows and sinsterly indistinct instruments of torture, many of them infused with a sense of decay through endless use."[14]

In the second edition, some of the illustrations appear to have been reworked to contain deliberate impossible geometries.[15] Wilton-Ely describes these as "visual ambivalences and contrived irrationality of space formulated in the early version and extended for new creative ends in the later one.[16]

Crime and punishment edit

The second edition in particular reflects Piranesi's idiosyncratic views on Italian history. In earlier works he had already deplored Greek influence on ancient Rome, and emphasized Rome's Etruscan heritage. The new Plates II and V, and the extensively reworked Plate XVI "reveal these new concerns in a more overt form", including inscriptions.[17] Plate II has names and busts of "victims punished unjustly by Nero" as recorded by Tacitus, which Piranesi saw as "emphasizing the decline of Roman law under a philhellene emperor".[18] The inscriptions in Plate XVI are quotations or paraphrases from Livy's history of the early Roman republic, showing the justice of early Roman law. Plate V includes "a giant relief in a late Imperial style" of a prisoner in chains being "led to punishment".[19]

Reception edit

Thomas De Quincey in Confessions of an English Opium-Eater (1821) wrote the following:

Many years ago, when I was looking over Piranesi's Antiquities of Rome, Mr. Coleridge, who was standing by, described to me a set of plates by that artist ... which record the scenery of his own visions during the delirium of a fever: some of them (I describe only from memory of Mr. Coleridge's account) representing vast Gothic halls, on the floor of which stood all sorts of engines and machinery, wheels, cables, pulleys, levers, catapults, etc., etc., expressive of enormous power put forth, and resistance overcome. Creeping along the sides of the walls, you perceived a staircase; and upon it, groping his way upwards, was Piranesi himself: follow the stairs a little further, and you perceive it come to a sudden abrupt termination, without any balustrade, and allowing no step onwards to him.[20]

An in-depth analysis of Piranesi's Carceri was written by Marguerite Yourcenar in her Dark Brain of Piranesi: and Other Essays (1984). The twentieth-century forger Eric Hebborn claimed to have forged Piranesi sketches.[21]

Piranesi's dark and seemingly endless staircases and blocked passages prefigure M. C. Escher's images with endless stairs such as his 1960 lithograph "Ascending and Descending", and are said to have inspired Edgar Allan Poe's story "The Pit and the Pendulum".[22]

Piranesi's work inspired the Carceri d'invenzione series of chamber works by the English composer Brian Ferneyhough.

The 1998 film The Sound of the Carceri presents cellist Yo-Yo Ma performing works by Johann Sebastian Bach in a computer generated simulation of Piranesi's Carceri. [23] The film is part of the Inspired by Bach series.

Susanna Clarke's novel Piranesi (2020) was inspired by Piranesi's Carceri etchings. [24]

Notes edit

  1. ^ "BBC - Somerset - BBC Restoration man in Bath". www.bbc.co.uk. Retrieved 2020-06-19.
  2. ^ Wilton-Ely, 85
  3. ^ Wilton-Ely, 85
  4. ^ Wilton-Ely, 81-84
  5. ^ Wilton-Ely, 81
  6. ^ Wilton-Ely, 81
  7. ^ Wilton-Ely, 89
  8. ^ Wilton-Ely, 89
  9. ^ Wilton-Ely, 89. This defeats Wilton-Ely, who says it is "more elusive ...may also be indirectly derived from the same source".
  10. ^ Wilton-Ely, 85-87
  11. ^ British Museum page, see Curator's comments
  12. ^ Wilton-Ely, 85, quoted
  13. ^ Wilton-Ely, 85
  14. ^ Wilton-Ely, 85, quoted, 89
  15. ^ ""Piranesi's Carceri as Inconsistent"". The University of Adelaide -- Inconsistent Images. November 2007. Retrieved 2017-09-06.
  16. ^ Wilton-Ely, 91, quoted
  17. ^ Wilton-Ely, 88-89, 88 quoted
  18. ^ Wilton-Ely, 89
  19. ^ Wilton-Ely, 89
  20. ^ Quoted in Wilton-Ely, 81
  21. ^ CNN.com The prolific forger whose fake 'Old Masters' fooled the art world, 24 October 2019
  22. ^ Altdorfer, John. . Carnegie Museums. Archived from the original on 6 July 2010. Retrieved 7 November 2015.
  23. ^ "Bullfrog Films catalog". www.bullfrogfilms.com. Retrieved 2022-06-17.
  24. ^ O'Donnell, Paraic (17 September 2020). "Piranesi by Susanna Clarke review – an elegant study in solitude". The Guardian. Retrieved 2 March 2023.

References edit

  • Wilton-Ely, John, The Mind and Art of Giovanni Battista Piranesi, 1978, Thames & Hudson, London, ISBN 0500091226

Further reading edit

  • Hofer, P. (1973). The Prisons (Le Carceri) – The complete first and second states. New York: Dover publications.

March 13, 2024
carceri, invenzione, often, translated, imaginary, prisons, series, etchings, italian, artist, giovanni, battista, piranesi, produced, from, 1745, 1750, when, first, edition, published, depict, enormous, subterranean, vaults, with, stairs, mighty, machines, ra. Carceri d invenzione often translated as Imaginary Prisons is a series of 16 etchings by the Italian artist Giovanni Battista Piranesi 14 produced from c 1745 to 1750 when the first edition of the set was published All depict enormous subterranean vaults with stairs and mighty machines in rather extreme versions of the capriccio a favourite Italian genre of architectural fantasies the first title page uses the term Title page second edition 1761The series was started in 1745 when Piranesi was already well known for more conventional prints of the ancient and modern buildings of Rome The first state prints were published in 1750 and consisted of 14 etchings untitled and unnumbered with a sketch like look The original prints were 16 x 21 Piranesi reworked the prints a decade later giving them second states 1 For the second edition in 1761 all the etchings were reworked and numbered I XVI 1 16 2 with numbers II and V new etchings in the series Despite being intensely personal imaginative creations for Piranesi a source of self analysis and of creative release 3 aspects of the Carceri draw on Piranesi s early training as a set designer for the stage prison scenes were often called for Surviving drawings for complicated sets by Filippo Juvarra and Ferdinando Bibiena both primarily architects as well as others have evident similaries to the prints in their receding spaces and disappearing staircases Number XI in the series is also very similar in reverse to a Piranesi drawing Study for a palatial interior in the British Museum 4 The images influenced Romanticism and Surrealism While the Vedutisti or view makers such as Canaletto and Bellotto more often reveled in the beauty of the sunlit place in Piranesi this vision takes on what from a modern perspective could be called a Kafkaesque distortion seemingly erecting fantastic labyrinthine structures epic in volume They are capricci whimsical aggregates of monumental architecture and ruin 5 Numbers I to IX were all done in portrait format vertical while X to XVI were landscape format horizontal Piranesi seems to have been diffident about the reception of such unusual images and the first edition title page does not name him as the artist nor do most of the individual plates 6 Though untitled they are sometimes given titles as below Contents 1 Prints 2 Background and creation 3 Crime and punishment 4 Reception 5 Notes 6 References 7 Further readingPrints editFirst edition 1750 Second edition 1761 Number Descriptive title Text nbsp nbsp I Title Plate 1st INVENZIONE CAPRIC DI CARCERI ALL ACQUA FORTE DATTE IN LUCE DA GIOVANI BOUCHARD IN ROMA MERCANTE AL CORSO 2nd CARCERI D INVENZIONE DI G BATTISTA PIRANESI ARCHIT VENE None nbsp II The Man on the Rack Inscribed below busts at top and on the pillar at left with names of victims punished unjustly by Nero as recorded by Tacitus 7 nbsp nbsp III The Round Tower nbsp nbsp IV The Grand Piazza None nbsp V The Lion Bas Reliefs nbsp nbsp VI The Smoking Fire nbsp nbsp VII The Drawbridge Faint inscription on pier near centre nbsp nbsp VIII The Staircase with Trophies nbsp nbsp IX The Giant Wheel nbsp nbsp X Prisoners on a Projecting Platform nbsp nbsp XI The Arch with a Shell Ornament nbsp nbsp XII The Sawhorse nbsp nbsp XIII The Well nbsp nbsp XIV The Gothic Arch nbsp nbsp XV The Pier with a Lamp nbsp nbsp XVI The Pier with Chains 2ND AD TERROREM INCRESCEN AUDACIAE IMPIETATI ET MALIS ARTIBUS from Livy s life of Ancus Martius INFAME SCELUS RI INFELICI SUSPE a paraphrase from the same work 8 There is a third inscription on the stele in the foreground 9 Background and creation edit nbsp Pietro Labruzzi s portrait of Giovanni Battista Piranesi 1779Some preparatory drawings mostly in ink wash have survived but for example two studies for Plate XIV in London and Edinburgh both differ significantly from each other and either state of the print allowing for a reversal of the image between drawing and etching But there are drawings for Plates VIII and XII that are close to the etchings 10 A drawing of Plate XIII appears to be a copy of the first edition print as yet lacking the changes made for the second edition 11 Though the second edition was the last Piranesi continued to print individual plates at least into the 1770s experimenting with the printing with regards to the effects of ink in both extent and colour 12 The first edition was reprinted together with Piranesi s archaeological Della Magnificenze ed Architettura de Romani in 1751 The reworking all the plates underwent before the second edition around 1761 as well as perhaps effacing signs of wear on the plates saw heightened tonal contrasts and the introduction of more explicit details the final traces of Rococo linear atmospheric subtleties were to be replaced by strongly bitten lines and broad areas of tonal contrast 13 nbsp Detail from Plate VThe second edition takes a darker thematic as well as visual turn with the new Plate II featuring a scene of torture near the bottom In various plates new penal apparatus in the form of chains cables gallows and sinsterly indistinct instruments of torture many of them infused with a sense of decay through endless use 14 In the second edition some of the illustrations appear to have been reworked to contain deliberate impossible geometries 15 Wilton Ely describes these as visual ambivalences and contrived irrationality of space formulated in the early version and extended for new creative ends in the later one 16 Crime and punishment editThe second edition in particular reflects Piranesi s idiosyncratic views on Italian history In earlier works he had already deplored Greek influence on ancient Rome and emphasized Rome s Etruscan heritage The new Plates II and V and the extensively reworked Plate XVI reveal these new concerns in a more overt form including inscriptions 17 Plate II has names and busts of victims punished unjustly by Nero as recorded by Tacitus which Piranesi saw as emphasizing the decline of Roman law under a philhellene emperor 18 The inscriptions in Plate XVI are quotations or paraphrases from Livy s history of the early Roman republic showing the justice of early Roman law Plate V includes a giant relief in a late Imperial style of a prisoner in chains being led to punishment 19 Reception editThomas De Quincey in Confessions of an English Opium Eater 1821 wrote the following Many years ago when I was looking over Piranesi s Antiquities of Rome Mr Coleridge who was standing by described to me a set of plates by that artist which record the scenery of his own visions during the delirium of a fever some of them I describe only from memory of Mr Coleridge s account representing vast Gothic halls on the floor of which stood all sorts of engines and machinery wheels cables pulleys levers catapults etc etc expressive of enormous power put forth and resistance overcome Creeping along the sides of the walls you perceived a staircase and upon it groping his way upwards was Piranesi himself follow the stairs a little further and you perceive it come to a sudden abrupt termination without any balustrade and allowing no step onwards to him 20 An in depth analysis of Piranesi s Carceri was written by Marguerite Yourcenar in her Dark Brain of Piranesi and Other Essays 1984 The twentieth century forger Eric Hebborn claimed to have forged Piranesi sketches 21 Piranesi s dark and seemingly endless staircases and blocked passages prefigure M C Escher s images with endless stairs such as his 1960 lithograph Ascending and Descending and are said to have inspired Edgar Allan Poe s story The Pit and the Pendulum 22 Piranesi s work inspired the Carceri d invenzione series of chamber works by the English composer Brian Ferneyhough The 1998 film The Sound of the Carceri presents cellist Yo Yo Ma performing works by Johann Sebastian Bach in a computer generated simulation of Piranesi s Carceri 23 The film is part of the Inspired by Bach series Susanna Clarke s novel Piranesi 2020 was inspired by Piranesi s Carceri etchings 24 Notes edit BBC Somerset BBC Restoration man in Bath www bbc co uk Retrieved 2020 06 19 Wilton Ely 85 Wilton Ely 85 Wilton Ely 81 84 Wilton Ely 81 Wilton Ely 81 Wilton Ely 89 Wilton Ely 89 Wilton Ely 89 This defeats Wilton Ely who says it is more elusive may also be indirectly derived from the same source Wilton Ely 85 87 British Museum page see Curator s comments Wilton Ely 85 quoted Wilton Ely 85 Wilton Ely 85 quoted 89 Piranesi s Carceri as Inconsistent The University of Adelaide Inconsistent Images November 2007 Retrieved 2017 09 06 Wilton Ely 91 quoted Wilton Ely 88 89 88 quoted Wilton Ely 89 Wilton Ely 89 Quoted in Wilton Ely 81 CNN com The prolific forger whose fake Old Masters fooled the art world 24 October 2019 Altdorfer John Inside A Fantastical Mind Carnegie Museums Archived from the original on 6 July 2010 Retrieved 7 November 2015 Bullfrog Films catalog www bullfrogfilms com Retrieved 2022 06 17 O Donnell Paraic 17 September 2020 Piranesi by Susanna Clarke review an elegant study in solitude The Guardian Retrieved 2 March 2023 References editWilton Ely John The Mind and Art of Giovanni Battista Piranesi 1978 Thames amp Hudson London ISBN 0500091226Further reading editHofer P 1973 The Prisons Le Carceri The complete first and second states New York Dover publications Retrieved from https en wikipedia org w index php title Carceri d 27invenzione amp oldid 1180907577, wikipedia, wiki, book, books, library,

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