The animation was shown at the following exhibitions or events:Ģ020 – Galleria Nazionale dell’Umbria, Perugia, Italy, exhibition Oct 20 – delayed, online onlyĢ020 – For the Love of the Master, 25 artists fascinated by Piranesi, Dublin, May-Oct 2020 – delayedĢ020 – TIAAF Art-house Cinecitta, Tilburg, April 18th 2020, festivalĢ019 – Biblioteca Nacional, Madrid, exhibition, pressĢ016 – Pushkin Museum, Moscow, exhibition(Russian), (English), pressĢ014 – V&A, Architects as Artists, LondonĢ012 – Center for Philosophy, Tokyo UniversityĢ010 – Fondazione Cini, Isola di San Giorgio, Venezia, exhibition There is no doubt that the author of this film, Grégoire Dupond of Factum Arte, has himself contributed a work of art to the mix of this exhibition. To watch Imaginary Prisons, Piranesi’s chilling cycle of etchings, transformed into a three-dimensional film is to enter a Wagnerian nightmare remade by Polanski. Grégoire Dupond thanks Factum Arte for the influence and support. “Watching Grégoire Dupond’s animation is literally like entering Piranesi’s mind.” The Carceri are the ‘prisons of Piranesi’s imagination’. Working from the second state of each print, a complex 3D environment has been assembled creating the sensation that you are walking into and around these contradictory and visionary spaces.
#Piranesi carceri prints for sale series
The 12 minute animation of Piranesi’s Carceri d’Invenzione series was created for and shown in an exhibition by Fondazione Cini, Factum Arte and Michele de Lucchi who designed a wood projection tower (image credit aMDL) to show the film. This series of 16 visionary images, originally etched by Piranesi when in his late 20’s, shows the workings of his imagination, merging his architectural ambitions with his obsessive interest in antiquity. The work was produced and created by artist Grégoire Dupond For Factum Arte and Fondazione Giorgio Cini. 07-09_1937, 128.Carceri d’Invenzione di G-Battista PiranesiĪ virtual animation of the 16 etchings from the Imaginary Prisons (Carceri d’invenzione) by Giambattista Piranesi, 2010. Records of the Department of Public Information. Yet in the first state of the plates, represented by the Brooklyn Museum set, the whole intention has been really expressed and the greater simplicity and freshness carry with a sincerity of inspiration which is somewhat lost in the conscious elaboration of the plates in their late state.īrooklyn Museum Archives. In the later edition of the prints, the effect is complicated by additional structures of stone and wood, additional engines of torture and additional striving figures the dramatic effect is also intensified by terrifying contrasts of bright light and darkened shadows. It is not only an imaginary prison but the prison of the imagination, in which fancy is tortured by huge space, confining walls, the temptations of a maze of unfinished projects and the hopelessness of all of them. It is indeed so madly fashioned by the imagination that it could never have been completed. Half finished arches reach out in mid air toward supporting piers that have not yet been built, galleries lead nowhere, and there are wooden scaffoldings, fragments of machinery and groups of workmen almost lost in the great spaces of the building. These large prints, admired by the poet Coleridge and described by De Quincy in The Opium Eater, depict scenes in the interior of an imaginary prison of huge proportions fashioned of Cyclopean masonry. The Carceri, or Prisons, etched in 1742, are regarded as Piranosi’s finest work, and the first issue by Bouchard in 1745–1750 is from many points of views more beautiful and interesting than the later issue, called Carceri d’Invenzione, and comprising the fourteen plates elaborated and two additional plates not known to have appeared in the Bouchard edition. The set is in excellent condition and extremely rare. Of these, thirteen are first states and the title page a second state, the first state of the title page differing only by an error in spelling the name of the publisher, Buzard for Bouchard. From July 9th through the summer, the Print Department of the Brooklyn Museum will exhibit a set of the fourteen plates in the first issue of the Invenzioni Capric di Carceri by Piranesi.
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