Remains of the Temple of Jupiter the Supporter 1748

Curator: Editor: This is Giovanni Battista Piranesi's "Remains of the Temple of Jupiter the Supporter," made in 1748. The starkness of the etching, rendered in shades of grey, portrays the grand columns of a Roman temple. How would you interpret this work? Curator: Focusing on the means of production, it is critical to examine how Piranesi’s prints circulated. These weren't simply artistic statements; they were commodities. The copper plates, the ink, the press - these materials represent an industry fueled by the demand for images of Roman antiquity from wealthy Europeans. Who was consuming these images, and how did it shape their perception of Roman history? Editor: So, the consumption of these images shaped historical perception? It’s almost like ancient Rome was repackaged as a souvenir. But what about Piranesi's choice of subject matter? Curator: Consider what survives: remnants. This speaks to the processes of decay, both literal and metaphorical. Rome's grandeur, achieved through massive extraction and labor, eventually crumbles, its materials repurposed. Are we also witnessing the decay of a certain imperial idea, as the continent reshapes itself politically, socially, economically? Editor: That's interesting - he is essentially documenting how materials of an empire get reused by the people. In terms of visual experience, the aquatint aesthetic adds something by alluding to dust. It is also intriguing how landscape can portray the decay, change and transition of societies. Curator: Precisely. He isn't simply capturing a beautiful ruin, but documenting the cyclical relationship between creation, consumption, and collapse. His art wasn't merely aesthetic; it was intrinsically connected to materiality. Editor: Thanks - I never considered how central that interplay might be to the consumption and significance of this image!