Assignment 1 | Theoretical Analysis

Piranesi | an Analysis on History, Architecture, and Influences behind his

Etchings during 18th Century Europe

Mashroor Ishraque

ARC 820 | Architecture without Physics: A Rhetorical Look at Super

Modernism and Futurism

Instructor Yew-Thong Leong

Ryerson University | Department of Architectural Science

February 4, 2017

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Table of Contents

1. Introduction ……………………………………………………….……...…..…..…. 3

2. History of Piranesi and his Surroundings ……………...…….……..…………... 3-8

2.1 Background ………………………..………………………………...…………….. 4-5

2.2 Social and Political Triggers ………………………………………..….…….……. 6-8

3. Piranesi | the Ruins and the Prisons …………..….………………..……...……. 8-12

3.1 Vedute di Roma, the Fascination of Ruins ……………………….…………..…... 8-11

3.2 Carceri d'Invenzione, the Darker side of Piranesi ………………….………...… 11-12

4. The Mind of Piranesi ……………………………………………….…......…… 13-19

4.1 The Psychology of Piranesi ……………………………………….……………. 13-16

4.2 Interpretation vs. Memories ……………………………………….……………. 16-19

5. The Influence in Culture and Media ………………………………..…….….... 19-20

6. Conclusion …………………………………………………………..….....………... 21

7. References …………………………………………………………………….… 22-24

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1. Introduction

Piranesi was an extraordinarily talented artist and was also considered to be a master

engraver and etcher during the 18th century. Throughout the course of his career, he spent recording

and archiving fantastic locations and architecture as well as ruins around Rome titled the Vedute

di Roma (Views of Rome)1. His series of architectural fantasies and dark visions of imaginary

prisons, the Carceri d'Invenzione (Imaginary Prisons)2, have fascinated people around the world

since there first production. They have made significant impact in art, culture, and literature of

later times leading to the 21st century. Today, Piranesi’s work is considered as a great form of

expression of bewilderment, of the world's massive oppression of man. These magnificent images

that Piranesi created arouses the question of how did an artist conjure such powerful means of

expressionism? Theorists, architects, historians, and scholars throughout the years have analyzed

his works to find the true meaning behind his etchings where few have traced his work back to the

social time period and psychological attributes involved with Piranesi himself. The following essay

discusses the historical elements of the 18th century time period, the etchings that Piranesi had

created, and his influences on cultural works in the future as understood from class lectures as well

as reading materials.

2. History of Piranesi and his Surroundings

At the time, Italy was undergoing a turmoil socially, politically, and culturally. The

aristocracy was sanctioned to be oppressive and stern thus the social structure of Rome was under

duress causing artisans to take action in order to remain relevant. The Grand Tour3 was formulated

1 Wofsy, Alan. Giovanni Battista Piranesi: The Complete Etchings. Koln; New York: Taschen. (2000): 394-431. Print. 2 Piranesi, Giovanni Battista. The Prisons (Le Carceri); the Complete First and Second States. New York: Dover

Publications, 1973. Print. 3 Sorabella, Author: Jean. "The Grand Tour | Essay | Heilbrunn Timeline of Art History | The Metropolitan Museum

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to allow for individuals to journey across Europe and return with goods, information, and

experience to further their work and provide them with commissions in the future. Venice had seen

success in their Grand Tour so Rome had proposed to do the same. The concept of Enlightenment

by theorists and artists traveled all over the Europe including Paris, Dresden, and London. With

news brought contemporary forms of artistic movement such as veduta (view), capriccio (art and

music), and veduta ideata (drawings). Architectural expression were also on the rise like

topographical view, architectural fantasy, and accurate renderings of ancient monuments.4 These

are introduced in response to the demand of increased visitors traveling in and around Rome.

Piranesi was one of the astute artistic during the time who showcased promise in these movements,

delivering and capturing the unique beauty of Rome, and its surroundings through his sketches,

paintings, and etchings.

2.1 Background

Giovanni Battista Piranesi was born in Venice 1720 and died in 1770. He was an Italian

etcher, archaeologist, designer, theorist, and architect (Figure 1). He was mentored in the art of

drawing by his uncle, a designer as well as a hydraulics engineer. During his early years, Piranesi

studied stage design and intricate systems of perspective composition alongside architecture. His

plethora of prints and drawings illustrated his understanding of dramatic perspectives and

architectural fantasies. Around the age of twenty, Piranesi left Venice and settled in Rome where

he began to study the city’s historical architecture in detail5. He started by etching imaginative

of Art." The Met's Heilbrunn Timeline of Art History. N.p., n.d. Web. 02 Feb. 2017.

<http://www.metmuseum.org/toah/hd/grtr/hd_grtr.htm>. 4 Girón, Javier. "Drawing and Construction Analysis From Piranesi to Choisy." Proceedings of the Second

International Congress on Construction History. Second International Congress on Construction History, Queens' College,

Cambridge University, London. Vol. 1. N.p.: Short Run, n.d. 61-87. University of Cambridge Department of Architecture.

Web. 2 Feb. 2017. <http://www.arct.cam.ac.uk/Downloads/ichs/vol-1-61-88-giron.pdf>. 5 Thompson, Wendy. “Giovanni Battista Piranesi (1720–1778)”. In Heilbrunn Timeline of Art History. New York: The

Metropolitan Museum of Art, 2000–. Web. 02 Feb. 2017.<http://www.metmuseum.org/toah/hd/pira/hd_pira.htm> (October

2003).

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views of ancient ruins and modern

Roman structures from the sketches he

recorded from his travels and

observations, preliminary etchings

which earned him acclaimed fame, and

later began a series of etchings of

fantastic prison interiors known as

Carceri d'Invenzione. During his fifties,

Piranesi took an interest in archaeology

which drove to start an expedition to

southern Italy. There he produced

various works around Greek

architecture6. It was not until he fell ill

during his journey that he would return to

Rome die at the age of fitty-eight. His life’s work left a pivotal imprint in history consisting of

incredible drawers, designers, and draftsmen many of whom would be influenced to create

wonders around Europe and beyond. Movements such as Neo-Classism, Surrealism, and

Romanticism held deep ties to Piranesi’s work conveying vivid designs and literature similar to

his extensive visions7. His etchings would be reprinted and distributed to the far reaches of Europe

mainly to Grand Tourists who were fascinated in seeing more of Rome and soon after would

continue to be reprinted today.

6 Thompson, Wendy. “Giovanni Battista Piranesi (1720–1778)”. In Heilbrunn Timeline of Art History. New York: The

Metropolitan Museum of Art, 2000–. Web. 02 Feb. 2017.<http://www.metmuseum.org/toah/hd/pira/hd_pira.htm> (October

2003). 7 Penny, Nicholas. Piranesi. London: Oresko. (1978). Print.

Figure 1: Portrait of Giovanni Battista Piranesi by Pietro Labruzzi.

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2.2 Social and Political Triggers

Early 18th century Europe presented fortunate young impressionists and artists who could

afford the opportunity to travel across the continent in search of inspiration. These young

aristocrats would visit neighbouring cities such as Paris, Venice, Florence, and above all Rome, as

the culmination of their classical education. Hence, the concept of the Grand Tour emerged. This

practice introduced far regions of Europe and the West to become acquitted with the art and culture

of France and Italy for the next 300 years8. Most Grand Tourists would stay for brief periods during

their expedition as they had a shortage of wealth to spend and an agenda to complete. They were

intrusted with scholarly intentions, accompanied by a teacher or guardian, and expected to return

home with souvenirs of their travels as well as an understanding of art and architecture formed by

exposure to great works from other cultures9. During the 18th century, there was heavy political

imbalance and resistance occurring around Europe. Many artists and tourists would become

patrons of the great Piranesi’s prints as his work provide a glimpse into the Roman history and

architecture. “Gothic buildings, not much esteemed before the late eighteenth century, were

seldom cause for long excursions, while monuments of Greco-Roman antiquity, the Italian

Renaissance, and the classical Baroque tradition received praise and admiration” as stated by Jean

Sorabella of the Metropolitan Museum of Art10. Rome, being the developing center of the Grand

Tour, became a new meeting place and intellectual capital of Europe for the leaders of a new

8 Sorabella, Author: Jean. "The Grand Tour | Essay | Heilbrunn Timeline of Art History | The Metropolitan Museum of Art."

The Met's Heilbrunn Timeline of Art History. N.p., n.d. Web. 02 Feb. 2017.

<http://www.metmuseum.org/toah/hd/grtr/hd_grtr.htm>. 9 Thompson, Wendy. “Giovanni Battista Piranesi (1720–1778)”. In Heilbrunn Timeline of Art History. New York: The

Metropolitan Museum of Art, 2000–. Web. 02 Feb. 2017. <http://www.metmuseum.org/toah/hd/pira/hd_pira.htm>

(October 2003). 10 Sorabella, Author: Jean. "The Grand Tour | Essay | Heilbrunn Timeline of Art History | The Metropolitan Museum of Art." The

Met's Heilbrunn Timeline of Art History. N.p., n.d. Web. 02 Feb. 2017.

<http://www.metmuseum.org/toah/hd/grtr/hd_grtr.htm>.

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movement in the arts. Not only was the Grand Tour attracting tourists, dealers, and antiquarians,

many new artists and architects were entering the city in search of inspiration. One distinctive

feature of Piranesi's work is based on the interpretation of Classical antiquity by adding his

imagination to increase the originality. The remains of Rome kindled Piranesi's enthusiasm. He

ventured parts of Europe and captured sketches of the Colosseum, Pantheon, Pyramid of Cestius

(Figure 2), Arch of Trajan, and more. Piranesi was intrigued by the Greco-Roman debate in 1760s

which was founded by the Etruscans and completed by the Roman centered on the belief that the

Italian civilization would be the root from them all11. Piranesi's reproductions of real and recreated

11 Girón, Javier. "Drawing and Construction Analysis From Piranesi to Choisy." Proceedings of the Second

International Congress on Construction History. Second International Congress on Construction History, Queens' College,

Cambridge University, London. Vol. 1. N.p.: Short Run, n.d. 61-87. University of Cambridge Department of Architecture.

Web. 2 Feb. 2017. <http://www.arct.cam.ac.uk/Downloads/ichs/vol-1-61-88-giron.pdf>.

Figure 2: Piranesi's Piramide di Caio Cestio, etching from the series: Views of Rome

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Roman ruins were a strong influence on Neo-Classicism12. The belief that artists have a right to

have their own original ideas and that he regarded Rome as the cultural destiny became the

backbone of his creative work. His work is the result of his imaginative mind combined with the

spirit of the Eternal City13 as depicted in many literature regarding his work.

3. Piranesi | the Ruins and the Prisons

3.1 Vedute di Roma, the Fascination of Ruins

Piranesi developed a fascinations of the ruins in Rome. He popularised the ruins and

antiquity with his own ideological slant. Ruin are powerful subjects in his and other 18th century

artisans’ works as it evokes an emotional response. “Piranesi infected the great public with a taste

of ruins that was hither to limited to just a few artists and poets,”14 as quoted by a critic in the San

Diego Museum of Art, meaning Piranesi was a driving force in visualizing the great architectures

of the past for all to behold. The taste for developing the ruins came at a right time in Europe as

the enlightenment was underway hence a rise in interest for the classical, antiquity, and science.

He was able to interrupt certain elements through an artist’s lens, being under the pressure of

representing a grand Roman legacy which can be seen in the etchings of the Colosseum (Figure

3.1) and Pantheon (Figure 3.2); representing the roman architecture through fantastic angles and

formwork. The use of ruins as well as fantasy can also be seen from this works in the Vedute di

Roma such the statue of Minerva from his title page (Figure 3.3). Minerva was the Roman

equivalent of Athena who is emphasized as the powerful Goddess of War, Arts, and Wisdom. His

12 Sorabella, Author: Jean. "The Grand Tour | Essay | Heilbrunn Timeline of Art History | The Metropolitan Museum of Art."

The Met's Heilbrunn Timeline of Art History. N.p., n.d. Web. 02 Feb. 2017.

<http://www.metmuseum.org/toah/hd/grtr/hd_grtr.htm>. 13 States, Bert O., and Victor Brombert. "The Piranesi Effect: Alone and Well in Prison." The Hudson Review 32.4 (1979): 617.

Web. 14 ArtStop: Giovanni Battista Piranesi. Perf. Lucy Eron. YouTube. The San Diego Museum of Art, 13 May 2013. Web.

02 Feb. 2017. <https://www.youtube.com/watch?v=9N62YAZVNrk>.

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Figure 3.1: Piranesi's Colosseum in full detail.

Figure 3.2: Piranesi's Pantheon, interior perspective.

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portrayal of Minerva in the etching was to demonstrate the rich and glorified history that Rome

and how that in turn represented the essence of beauty.15 Piranesi stated in his writings “when I

realised in Rome the majority of the ancient monuments were lying in forsaken in fields or gardens

or even now serving as a quarry for new structures I resolve to preserve their memory with the

help of my engravings I have therefore have attempted to exercise the greatest possible exactity,”16

expressing his desire to preserve ruins through his etchings as they were invaluable means of

history and wonder. Many of his work over time were lost, modified, and discarded, however he

asserted the truth in that which he saw in and around these monuments. The fantasy driven element

15 ArtStop: Giovanni Battista Piranesi. Perf. Lucy Eron. YouTube. The San Diego Museum of Art, 13 May 2013. Web.

02 Feb. 2017. <https://www.youtube.com/watch?v=9N62YAZVNrk>. 16 Wofsy, Alan. Giovanni Battista Piranesi: The Complete Etchings. Koln; New York: Taschen. (2000): 394-431. Print.

Figure 3.3: Piranesi's Capriccio di rovine con statua di Minerva, the title page for Vedute di Roma.

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behind his engravings create a sense of awe and draws in the viewer’s interest. In reality, such

massive structures would not truly exist as Piranesi skews the line between realism and surrealism

in its earliest form. Light is omnipresent17 in his interior perspectives as seen in the Pantheon. The

juxtaposition of light and scale create a fantastic image that heightens the imagination. Piranesi

helped in elevating the art objects found in the ruins and over time the ruins themselves worthy of

preservation and admiration. By acquiring fragments of the past, Piranesi reformulated the pieces

to create a new meaning behind the ancient ruins which would be able to exist in and outside of

time as exquisite etchings of 18th century Rome.

3.2 Carceri d'Invenzione, the Darker side of Piranesi

One of Piranesi’s ambitious works consists of his prison series titled Carceri d’Invenzione.

It is in this series where he took liberty in expressing his labyrinthine spaces, illustrating a

meaningful masterpiece revolving around the lost and the damned. Yourcenar’s essay, “The Dark

Brain of Piranesi,” explores further into the confines of Piranesi’s inner thoughts and discusses

them through her theories. She characterizes Piranesi being complex in nature, having multiple

perspectives on history, art, and human exploration18. Yourcenar names the human exploration to

being the English Gothic and Romantic movements as Piranesi romanticized his work in ways saw

fit such as in The Man on the Rack where it displays man’s impurity through, envy, greed, and

murder in contrast with the true yet extravagant architecture of Imperial Rome (Figure 3.4).

Piranesi’s fascination of the mind allowed him to manifest his etchings of Rome, immortalizing

them by how he viewed and was able to represent them. “Piranesi’s ruins are visual contemplations

17 Leong, Yew-Thong, Kendra Smith, and Albert Smith. "Piranesi." Theorists and Futurists Panel. Ryerson University,

Architecture Building, Toronto. 26 Jan. 2017. Lecture. 18 Yourcenar, Marguerite. The Dark Brain of Piranesi and Other Essays. New York: Farrar, Straus, Giroux, 1984. Print.

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of man’s relation to the grandeur and fleetingness of his own history.”19 He transitions to a more

subjective form of architecture when etching Carceri d’Invenzione. It can be seen as “visual

metaphor,” as Yourcenar describes, of his mind consisting of dark and irrational spatial

configurations. The vastness of the

prisons and ornaments such as chains and

barrels leave traces of the consciousness

that is never-ending, yet can me

confronted with obstacles in its path.

These etchings provide viewers a

glimpses into seemingly impossible

chambers that both frightens and arouses

curiosity. Piranesi display powerful works

of emotions through his romanticized

images influencing artists such as MC

Escher to break down barriers and

question the possibilities of the mind once

place onto a medium. Both Piranesi and

Escher possessed a labyrinthine mind which they took advantage of in creating equally complex,

labyrinthine monuments through etchings and lithographs. The nature of Piranesi’s work and

influence has provided insight on art, architecture, theory, history as well as psychology in ways

that provide a truer understanding of the mind through artistic interpretation.

19 Yourcenar, Marguerite. The Dark Brain of Piranesi and Other Essays. New York: Farrar, Straus, Giroux, 1984. Print.

Figure 3.4: Piranesi's The Man on nthe Rack, etching from the series:

The Imaginary Prisons

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4. The Mind of Piranesi

As gifted and well-paced of an individual he was, Piranesi carried his own demons with

him as did most citizens of Rome during the 18th century. Due to the aristocratic status and

bureaucracy most individualists like Piranesi struggled to stay relevant by creating new etchings

from their sketches collected from their Grand Tour and mass producing their works. Having to

survive from one commission to the next can take a toll on most individuals’ mind, similar to a

21st century salaryman trying to make rent from a steady income. Perseverance is critical at times

of uncertainty and people often find something to hold onto during difficult times. Piranesi sought

solace in his mind and in his art where he can freely roam and construct as he wished, interpreting

want was around him through a larger than life perspective.

4.1 Psychology of Piranesi

Piranesi was said to be a complicated character, having a mind that was both meticulous

and dark. He dreamt about one day having the title of “Venetian architect,” but instead managed

to have an astute reputation as a theorist, historian, architect, and etcher through his productions

which he acquiring from successfully completing his Grand Tour before running out of funds20.

The genius that he was, Piranesi saw what most did not during his time which was a beauty within

the dark and the forgotten. He manifested his isolation by developing his prison series and etch

forms that can only have come from his inner psychosis. There is a clear dichotomy in his style

from his earlier works leading to his later ones. For example, the Outside View of the Pantheon or

Rotunda (Figure 4.1) shows order and patience in his work while The Saw Horse (Figure 4.2)

shows a sense of uneasiness and haste. Granted The Saw Horse was from his imagination hence

20 Jones, Jonathan. "Piranesi, and His Enduring Influence." The Guardian. Guardian News and Media, 06 Nov. 2002.

Web. 02 Feb. 2017. <https://www.theguardian.com/culture/2002/nov/06/artsfeatures.highereducation>.

14

likely would not hold the same level of intricacy as the Pantheon, but when comparing his other

prison etchings most have similar techniques. This technique of adding and removing layers of

etchings to show texture and contrast may imply nervousness from Piranesi21. It can be from a

state of worry or anxiety which would not be uncommon from the stress of his occupation and

status of Rome was in. The Drawbridge can be a seen as a representation of prison within the mind

as the bridges in the image show no end or beginning to them (Figure 4.3). There is a sense of

freedom due to the seemly infinite levels to explore as well as incarceration with an eerie

atmosphere shrouded in dark tones and chains. This adequately represents Piranesi’s mentality as

he found himself caught in a vicious loop where he possesses freedom of creativity, but is left to

21 Leong, Yew-Thong, Kendra Smith, and Albert Smith. "Piranesi." Theorists and Futurists Panel. Ryerson University,

Architecture Building, Toronto. 26 Jan. 2017. Lecture.

Figure 4.1: Piranesi's the Outside View of the Pantheon or Rotunda

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replicate his work in order to remain a float financially. Being chained by circumstance, but free

to illustrate as he chooses was his own version of a prison. The labyrinth forged by Daedalus can

be compared to Piranesi’s work as it encompassed notions of architecture, exploration, human

anxiety, and mental restrain. Thomas Bulfinch writes, “The creation of the labyrinth by Daedalus

may be connected with the creation of architecture. The labyrinth serves as a metaphor of human

existence and that Daedalus” creation of the labyrinth can seem as a paradigm of order, “primordial

ideal of architecture.”22 The intricacy of the labyrinth is similar to that of Piranesi’s fascination

with his own mind, seeking to escape from his maze through art. This fascination of ruins and

22 Smith, Albert. "The Myth of Daedalus." Architectural Representation Course. Ryerson University, Kerr Hall,

Toronto. 1 Feb. 2017. Lecture

Figure 4.2: Piranesi's The Saw Horse, 1749–50

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prisons have strong ties to his culture and personality as Rome during the time was facing social

and political turmoil leaving artisans to provide a fitting distraction for the masses.

Figure 4.3: Piranesi’s The Drawbridge, etching from the series: The Imaginary Prisons.

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4.2 Interpretation vs. Memories

Piranesi’s Vedute di Roma delineates his representation of historical architecture of Rome

which he was able to create from interpreting its construction by carefully sketching his

observations while his Carceri d’Invenzione can be understood as fantasies that he was able to

etch from his memories. However, the opposite can be said from a viewer’s perspective. A viewer

of Piranesi’s Vedute di Roma can recollect memories of the building and immediately feel a sense

of place and nostalgia from his work. Similar can be said for his Carceri d’Invenzione series where

the viewer is left to his or her imagination to interpret what is truly happening in the spaces. The

paradigm can be traced back to his technique (Figure 4.4). Piranesi had to have a true eye for the

subject he means to represent, able to display depth, texture, lighting, and shadow in all of his

work23. Piranesi is re-imagining past landscapes in relation of the observers made him a reference

for many such that he was able to capture the essence of the architecture through classical and

23 Leong, Yew-Thong, Kendra Smith, and Albert Smith. "Piranesi." Theorists and Futurists Panel. Ryerson University,

Architecture Building, Toronto. 26 Jan. 2017. Lecture.

Figure 4.4: Comparing the level of detail by analyzing the people and line work in Piranesi's Ponte Salario (left) and The

Drawbridge (right) – image referenced from Ek and Sengel pg. 23.

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sublime architecture24 His depiction of ruins allowed for viewers to appreciate the Classical forms

and monuments from unique perspectives while his prisons brought a freer form of expression of

architecture that can be interpreted as sublime. His prints fused the Classical of past with the Neo-

Classical modernity harmoniously. A similar process occurs in Piranesi’s interior designs where

he designed objected that reflected upon antiquity. Piranesi would draw inspiration from objects

such as vases (Figure 4.5), chairs, statues, coins, and tripods (Figure 4.6) to help detail his thoughts

and produce his work. Being able to observe distinct features of the objects allowed him to surpass

the extent of visual representation and apply it onto his medium. As a result, Piranesi simulated

Classical design that is inspired by ancient concepts, bringing new found appreciate for history

into modern era. These creations cannot be considered as realistic nor superimposed

24 Ek, Fatma İpek, and Deniz Şengel. "Piranesi Between Classical and Sublime." Middle East Technical University

Journal of the Faculty of Architecture (2007): n. pag. Print.

Figure 4.6: Piranesi’s Tripod, 1778 Figure 4.5: Piranesi's Vaso antico di marmo, nella Villa

Valenti a Porta Pia

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representations, but are instead fantastic objects created to provoke discussion onto those who

behold them. For Piranesi, Neo-Classicism is not simply about imitation or illusions of restitution;

it is a historical tool of modern inspiration and is itself a facet of modernity25. In addition, to recover

or to restore was not Piranesi’s purpose in creating his images. Re-instilling the beauty of old

within the new and continuing the tradition of appreciating the lost would be a more meaningful

understanding of his work.

5. The Influence in Culture and Media

Over the course of his century and beyond, Piranesi had influenced many visionaries to

create works that hold grandeur in delivering fantastic imagination to the world. The dystopian

science fiction films such as

Metropolis and Blade Runner26 can be

seen to have influences of Piranesi’s

work through emphasis on architecture

over man, similar to many of his

etchings in the prison series (Figure

5.1). Piranesi’s knowledge of theater

stage design were implemented with

films through practical set construction and computer generated imagery (CGI) such in Harry

Potter having Gothic and Neoclassical elements present with its castles and dungeons. MC

Escher’s lithograph Relativity (Figure 5.2) can be seen as a testament to Piranesi’s The Gothic

25 Robison, Andrew. Piranesi: Early Architectural Fantasies: A Catalogue Raisonné of the Etchings. Chicago: University of

Chicago Press, 1986. Web. 26 Jones, Jonathan. "Piranesi, and His Enduring Influence." The Guardian. Guardian News and Media, 06 Nov. 2002.

Web. 02 Feb. 2017. <https://www.theguardian.com/culture/2002/nov/06/artsfeatures.highereducation>.

Figure 5.1: A collage of Piranesi and Metropolis by Ioana Iliesiu.

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Arch (Figure 5.3) where the illusion of an infinite set of stairs can be understood from focusing on

its arrangement. Director Christopher Nolen utilized similar elements of looping stairs in Inception

and Interstellar to formulate science and human solidarity within the mind (Figures 5.4 and 5.5).

This complex fascination of space and how it can be arranged makes Piranesi a strong influence

on architectural style in films and culture. It is the ability to capture the viewer’s imagination on a

similar frequency as the artist’s is what truly resonates from his works onto modern culture and in

media. Overall, his etchings inspired films to create fantastic architecture which, besides in

literature, would have been otherwise incredibly complicated to manifest.

Figure 5.2: Relativity, a lithograph by MC Escher. Figure 5.3: Piranesi’s Gothic Arch, etching from the series: The

Imaginary Prisons

Figure 5.4: Escher's stairs from the movie Inception Figure 5.5: Illusion and theory of relativity in the Tesseract

scene in the movie Interstellar

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6. Conclusion

In conclusion, Piranesi was not only influential to 18th century artists, historians, and

architects, but also to future artists, theorists, architects, historians, writers, and creators. Piranesi’s

mind holds many fantastic creations and tells a vivid story during his time. The Grand Tour

presented opportunities to broaden his horizons and return home with new found purpose. The

social and cultural aspects surrounding his time allowed Piranesi to draw influences from not only

Roman, but Egyptian and Tuscan architecture as well. By expending on his knowledge he acquired

from his travels, Piranesi was able to produce a series of etchings during his career than brought

him well-renown fame. The Vedute di Roma and Carceri d’Invenzione have become historical

works of art which we revisit to interpret Classical and Neo-Classical architecture of Rome. The

psychosis behind Piranesi can be analyzed further in depth to reveal intellectual responses to his

technique and design direction. His fascination with fantasies allowed him to created astonishing

images that can be created from a curious and wondrous mind. Today, we look back on the

beautiful forms of architectural expressions he left behind for all to question, become inspired by,

and journey to visit the ancient ruins that Piranesi saw through with his own lens holding great

admiration and preservation for them all.

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7. References

ArtStop: Giovanni Battista Piranesi. Perf. Lucy Eron. YouTube. The San Diego Museum of Art,

13 May 2013. Web. 02 Feb. 2017. <https://www.youtube.com/watch?v=9N62YAZVNrk>.

Ek, Fatma İpek, and Deniz Şengel. "Piranesi Between Classical and Sublime." Middle East Technical

University Journal of the Faculty of Architecture (2007): n. pag. Print.

Girón, Javier. "Drawing and Construction Analysis From Piranesi to Choisy." Proceedings of the

Second International Congress on Construction History. Second International Congress on

Construction History, Queens' College, Cambridge University, London. Vol. 1. N.p.: Short Run, n.d. 61-

87. University of Cambridge Department of Architecture. Web. 2 Feb. 2017.

<http://www.arct.cam.ac.uk/Downloads/ichs/vol-1-61-88-giron.pdf>.

Jones, Jonathan. "Piranesi, and His Enduring Influence." The Guardian. Guardian News and

Media, 06 Nov. 2002. Web. 02 Feb. 2017.

<https://www.theguardian.com/culture/2002/nov/06/artsfeatures.highereducation>.

Leong, Yew-Thong, Kendra Smith, and Albert Smith. "Piranesi." Theorists and Futurists Panel.

Ryerson University, Architecture Building, Toronto. 26 Jan. 2017. Lecture.

Penny, Nicholas. Piranesi. London: Oresko. (1978). Print.

Piranesi, Giovanni Battista, and John Wilton-Ely. Giovanni Battista Piranesi: The Complete

Etchings. San Francisco: Alan Wofsy, 1994. Print.

Piranesi, Giovanni Battista. The Prisons (Le Carceri); the Complete First and Second States.

New York: Dover Publications, 1973. Print.

Robison, Andrew. Piranesi: Early Architectural Fantasies: A Catalogue Raisonné of the

Etchings. Chicago: University of Chicago Press, 1986. Web.

Smith, Albert. "The Myth of Daedalus." Architectural Representation Course. Ryerson

University, Kerr Hall, Toronto. 1 Feb. 2017. Lecture.

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FIG 2: Piranesi, Giovanni Battista. Piramide di Caio Cestio. Digital image. Wikiart. N.p., n.d. Web. 03

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FIG 3.1: Piranesi, Giovanni Battista. Veduta dell`Anfiteatro Flavio, detto il Colosseo. Digital image.

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FIG 3.2: Piranesi, Giovanni Battista. Veduta interna del Pantheon volgarmente detto la Rotonda. Digital

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