Boullee Architecture Essay On Art

Boullee Architecture Essay On Art-30
Piranesi arrived in Rome at the age of nineteen, coming from Venice, where he had learned etching.In Rome, he was struck by the city's ruins and by contemporary painters, architects, and stage designers, such as the Bibienas and Giovanni Paolo Panini.Panini himself had come to Rome in 1711, and established himself as a painter of real and imaginary ruins.

Piranesi arrived in Rome at the age of nineteen, coming from Venice, where he had learned etching.In Rome, he was struck by the city's ruins and by contemporary painters, architects, and stage designers, such as the Bibienas and Giovanni Paolo Panini.Panini himself had come to Rome in 1711, and established himself as a painter of real and imaginary ruins.

With just a casual survey of the etchings and an awareness of their number, it's abundantly clear that Piranesi was determined to present an unprecedented magnificence in European architecture -- whether his proposals were taken seriously or not.

As he himself wrote, "I need to produce great ideas, and I believe that if I were commissioned to design a new universe, I would be mad enough to undertake it." In one respect, Piranesi's etchings are explicit propaganda built upon nationalism and nostalgia for a bygone era of supposed glory, and the social qualities which he and others attached to, and believed could be instilled by, ancient Roman architecture (of course, this opens up the debate over if all architecture, as the most public of arts, is propaganda of a sort).

Piranesi was in conversational and creative contact with these people, and was soon to assert himself on his own terms.

In 1743, Piranesi published his first suite of etchings, the , the first version of his well-known, theatrical prison designs.

Merely translating Piranesi's art into an interactive world offering nothing more than itself would be interesting to some degree, but there is also such a variety of intended and unintended intellectual content embedded in his oeuvre that could be explored.

I have already described Piranesi's environments as "sublime"; as we increasingly find ourselves living in a metaphysically conscious world and one that designates places as tourist attractions, on top of offering the conveniences of navigational services like Google Maps, two questions that might be asked are: These questions, and more, could be developed into narratives and supported by an interpretation of Piranesi's type of sublimity.

Descriptive assignments may just depend on the interests of the person doing the assigning (think back to your professor who approached everything from their specialty), but I do believe that there is a legitimate case for videogames as first and foremost spatial fantasies.

I have also increasingly felt that videogames have deprived themselves of the vast artistic legacy that lies outside of their realm.

Despite any of their propagandistic aims, the plates are calls for imaginative exploration (how can anyone glance at the plate above and not want to climb around that stonework?

), and I find it impossible to believe that this imaginative appeal -- of the actual architecture and the etchings' two-dimensional universes -- did not form a part of the foundation for Piranesi's enthusiasm.

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