The visitors were a roll-call of leading patrons on the Grand Tour from 1761 onwards, including Sir William Hamilton, Sir Roger Newdigate and Charles Townley. Palazzo Tomati still exists but nothing remains of any significance in the interiors where Piranesi had his printing business and “museum”. Many of the sculptors working with him were highly skilled in patinating new marble to integrate it with antique material,14 which was necessary to satisfy the aesthetic demands of potential clients. He worked with a network of talented sculptors including Antoine-Guillaume Grandjacquet, Francesco Antonio Franzoni and Lorenzo Cardelli, who could realise his sketchy designs in three dimensions and help reconstruct antiquities. 13 Piranesi’s business was carried out from Palazzo Tomati in Via Sistina, conveniently near the British Quarter of the Piazza di Spagna. The extent to which he was interested in improving and reconstructing the fragments that were being discovered is clearly revealed in Sir William Hamilton’s remark about the Warwick vase: I was obliged to cut a block of marble at Carrara to repair it, which has been hollowed out & the fragments fixed on it, by which means the vase is as firm & entire as the day it was made.
Piranesi, deeply engaged in the process of learning from and understanding the antique creative mind, viewed originality as a process rather than a state of being. The protocols that governed “restoration” were very flexible. Piranesi was recognised and valued by these British dealers for his expertise, and in 1757 he had been made an honorary member of the newly formed London Society of Antiquaries. He worked in close collaboration with entrepreneurs such as Thomas Jenkins, James Byers and Gavin Hamilton. When he started losing the patronage of the Rezzonico family, especially after the death of Pope Clement XIII in 1769, he was more reliant on this work to supplement his business selling prints. Piranesi was increasingly making and selling work from the 1760s onwards. This was partially modelled in ZBrush from a scan of the seeds of a pomegranate Detail of the fluting on the neck of the vase 206 207 Vase with three griffin heads From Vasi, candelabri, cippi, sarcofagi, tripodi, lucerne, ed ornamenti antichi disegnati ed incisi dal cavalier Giovanni Battista Piranesi (Rome, 1778) Wilton-Ely 951 Digitally modelled using ZBrush by Adam Lowe with Voxelstudios, Madrid 3D realisation using a stereo-lithographic printer by Materialise, Leuven Cast in plaster (Alamo 70) by Ángel Jorquera, Javier Barreno and Juan Carlos Andrés Arias, Factum Arte, Madrid The size of this vase is based on another large marble vase reproduced in Vasi, candelabri, cippi now in front of the church of Santa Cecilia in Trastevere (Wilton-Ely 922) 220 x 160 x 160 cm 2010 In Rome in the late eighteenth century there was a thriving trade in restoring and selling Classical antiquities to visiting foreigners.
Also available in Spanish here.Detail of the pomegranate that forms the handle of the lid of the large vase. See the catalogue in our Publications section here. It contains essays by Michele de Lucchi, Guiseppe Pavanello, John Wilton-Ely, Norman Rosenthal, Adam Lowe and others.
#Factum arte piranesi full#
In addition to objects realised using traditional and digital modelling, the exhibition also contains Gabriele Basilico's sensitive black and white photographs of the famous Vedute and over 250 etchings by Piranesi.Ī 304 page catalogue in English and Spanish editions, sized 24x21 cm, in full colour with duotone grayscale images, soft binding and flaps, is available from CaixaForum or Factum Arte. The exhibition, a collaboration between Factum Arte and the Fondazione Giorgio Cini, opens in Madrid after receiving great reviews when it was in Venice for the Biennale of Architecture in 2010. Then touring to CaixaForum Barcelona from October 2012 to January 2013 and to San Diego Museum of Art from Mathrough July 07, 2013 Architect, etcher, antiquarian, vedutista, designer is an exhibition on the work of Giambattista Piranesi curated by Michele de Lucchi, Adam Lowe and Giuseppe Pavanello, taking place in CaixaForum Madrid from 25 April to 9 September 2012.
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