Vedute di Roma 

Curator: The artist Giovanni Battista Piranesi brings us "Vedute di Roma." While undated, this piece utilizes etching and engraving to deliver a compelling architectural vista. Editor: Stark, dramatic, and frankly a little haunting! The blacks are so intense, they nearly swallow the light. It feels less like a documentation and more like a gothic stage set. Curator: Exactly. Piranesi wasn't merely depicting Rome, he was re-imagining it. Notice how he emphasizes the scale of the ancient ruins. It reflects a burgeoning sense of neoclassicism that romanticized the grandeur and decay of ancient empires, but through the lens of burgeoning modernity and civic authority.. Editor: It's interesting that you say 'modernity' because I almost feel crushed by the weight of history! Those tiny figures almost disappear beside these looming remnants. Were his contemporaries as impressed by ruin as Piranesi seems to be? Curator: Ruins became incredibly popular in the 18th and 19th centuries. The remnants became integrated with everyday spaces in burgeoning capital, acting as physical embodiments of a bygone era to learn from. The imagery in "Vedute di Roma" also hints at some subtle critique regarding institutions; their long lasting legacy versus temporal elements of social control, all while depicting the everyday experiences of people . Editor: Yes! I catch those same notions within it as well now! Even today the effect is overwhelming. Thinking about institutions and their relationship with civilians, makes the architectural features here carry such heavy connotations. The bridge even begins to resemble both a structure and a boundary at the same time. Curator: Precisely. It's not just an accurate portrayal, but rather Piranesi offers us his commentary on civilization. Editor: He definitely makes you think! It is rare to be captivated and slightly uneasy simultaneously! Curator: It really causes you to wonder where to go after bearing witness, doesn't it? Editor: Yes indeed, my reflections continue now!