• Korean Institute of Interior Design Journal
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• v.17 no.6
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• pp.11-20
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• 2008

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.

• Journal of the Korean Society of Industry Convergence
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• v.9 no.2
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• pp.123-131
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• 2006

The subject of this study is to find out the characteristics of spacial expression in 'Le Carceri' of Giovannibattista Piranesi. Piranesi was the classicist from using classical motif. But for using itself he was not absolute canon of classical but playing tool. Because his etchings of perspective were presented the modernity not fixed the frame. The etchings of Le Carceri were characterized the dark, deep, heavy and devastating. In conclusion, the characteristics of spacial composition in his etchings were presented the simultaneity of time both classic and contemporary time. And it could represented the nonexistent of structurality for visual rationality. Architectural & de-architectural elements of his drawing were become in fragments. So the fragmented elements, his etchings have shawn the off-center to cast off the classical concept. And also the body of human was become the thing of object in his drawing. That is, it was inverted the subject and the object and the function of prison depicted in canvas is disappeared. This is the point of evocation in Piranesi' idea.