A Historical Analysis on the Spatial Characteristics of Architectural 'Capriccio' in the Piranesi Etching 'Le Carceri'

피라네지 동판화 카르체리에 나타난 카프리치오적 공간개념의 생성배경에 관한 연구

  • 김홍기 (동양공업전문대학 실내건축과)
  • Published : 2008.12.31

Abstract

The purpose of this study is to find out the theoretical background of spatial fantage effects in Piranesi etching "Le Carceri" called 'Architectural Capriccio'. In a life time Piranesi created a prodigious oeuvre of dramatic and fantastic images about magnificent buildings and mysterious ruins and prison. The increasing "tourism" after the middle of the 18th century contributed a lot to Piranesi's success. He was famous for his poetic views of Rome and also his fantastic imaginary interiors. The terms "Capriccio" and "Veduta" are strongly connected with Piranesi's work. The term Veduta describes a form of landscape depiction in print with close to reality imitation of the scenery, whereas the "Capriccio" contains the elements of invention in artificial architectural landscape. Trained in Venice as an engineer and architect, his studies had included perspective and stage design. These skills, allied to his deep knowledge of archaeology, provided the substance for his Veduta, etchings of ancient Rome. But his most remarkable etchings are those of imaginary interiors, the Carceri d'Invenzione(Imaginary Prisons), a series of capric plates issued in 1750. It appears to Piranesi etching 'Le Carceri' that 18th century experimental scenography's effect very strongly. Also, it can understand about "Scena per Angolo" which was revealed by Ferdinando Galli Bibiena that Piranesi spatial view and viewpoint deconstruction operate motive and cause. Piranesi's spatial fortification was influence by Filippo Juvarra's spatial concept. As a result of this research will be foundation of understanding deeply that Piranesi etching has been affect to present architecture and art.

Keywords

References

  1. John Wilton-Ely, Piranesi as Designer, Cooper-Herwitt National Museum, 2007
  2. John Wilton-Ely, Piranesi: The Etchings, Taschen, 2006
  3. Bernard Aikema and Bakker Boudewun, Painters of Venice: The Story of the Venetian Veduta, University of Washington Press, 1992
  4. Giuseppe Galli Bibiena, Architectural and Perspective Design, Dover, 1964
  5. William Vaughan, Romanticism and Art, Thames and Hudson, 1994
  6. Daniel Ionazzi, The Stagecraft Handbook , Betterway Books; 1st edition, 1996
  7. Edwin Wilson and Alvin Goldfarb, Living Theatre a History, McGraw-Hill Humanities, 2003
  8. John Rupert Martin, Baroque (Icon Editions), Westview Press, 1977
  9. Germain Bazin, Baroque and Rococo, Thames and Hudson, 1996
  10. Martin Kemp, The Science of Art: Optical Themes in Western Art from Brunelleschi to Seurat, Yale University Press, 1992
  11. Daniel A. Ionazzi, The Stagecraft Handbook, Betterway Books, 1996
  12. Dietrich Neumann, Film Architecture: Set Designs from Metropolis to Blade Runner, Prestel, 1996
  13. Syd Dutton, Piranesi Inspires Beauty and The Beast, 2000
  14. Juniko Moody, Illuion of Art Interview: Prinesi's Work, 2000
  15. John Summerson, The Architecture of the Eighteenth Century, Tames & Hudson, 1986
  16. Oscar Brockett, The History of the Theatre, Allyn & Bacon, 2006
  17. Philip Jodidio, Architecture Now, Taschen, 2005
  18. 디자인문화비평 06- 판타지 스케이프, 안그라픽스, 2002
  19. 이진경, 근대적 시공간의 탄생, 푸른숲, 2003
  20. 김홍기, 그림이 된 건축 건축이 된 그림, 아트북스, 2007
  21. 신승수, 피라네지 공간의 극장성을 통해 본 근대성 재해석, 서울대 박사학위논문, 1996
  22. 김정락, 유바라와 피라네지 건축도-환상적 건축 또는 건축환상, 미술사학보 제25호, 2005
  23. 전지영, 카넬라토의 1730년대 베네치아 베두타 연구, 홍익대, 2003