The Montserrat Piranesi collection is a selection of engravings,
acquired by the Abbey of Montserrat in Rome at the beginning of 20th
century, of Giovanni Battista Piranesi (Mogliano di Mestre, Venecia,
1720–Roma, 1778). It consists of sixty engravings of the series Views
of Roma (1748-1778), Roman Antiques (1756) and Field of March (1762).
Some engravings by his son Francesco are added to the whole,
representing continuity to the Piranesi style in 19th century.
This, to this date first time new exhibition of the best engravings of Piranesi, one of the great names of the engraving art, is run by Artur Ramon i Navarro as the exhibition commissary, who defines the Venetian artist as “a man and a name who, with the burin over paper passion, revealed our visual world”.
Currently, this engravings collection is considered one of the most important in Spain, together with those of the National Library in Madrid and the San Carlos Royal Academy in Valencia.
Likewise, in the exhibition it will be possible see the book “Il Campo Marzio dell’antica Roma” (“Field of Mars of the Ancient Rome”) (first edition, 1762). This work, essential treatise to understand the defence made of Rome by Piranesi during a time when the supremacy of Rome was controversial, reflects the energy of this artist, archaeologist and polemicist from Venice.
Piranesi etched the most well known places and monuments of the eternal city. These etchings were used as souvenirs for the fist tourists from North Europe, a first approach to our postcards. They are perfectly dated and catalogued, and gather 30 years of engraving his adoption city. Among others, views such as the one of Tiberina Island, the three of Coliseum, and of Cestia Pyramid, Tivoli Cascade and Vila Pamphili created an image of Roma and its surroundings and spread it throughout Europe. On other hand, Piranesi also reflected views where nature and vegetation give prominence to the place, such as the Tivolo waterfalls, with its abundant water and its trees silhouetted against the sky like Rococo candelabra arms, or the Temple of Minerva like a romantic tower of Babel, or Vila Adriana Gallery that is an explosion of vegetation of extraordinary visual power.
It is all made as if the engraving were a painting, with a chiaroscuro technique which only the engraver Rembrandt had achieved until then. This is why Piranesi has been described as “the Rembrandt of the ruins”.
This, to this date first time new exhibition of the best engravings of Piranesi, one of the great names of the engraving art, is run by Artur Ramon i Navarro as the exhibition commissary, who defines the Venetian artist as “a man and a name who, with the burin over paper passion, revealed our visual world”.
Currently, this engravings collection is considered one of the most important in Spain, together with those of the National Library in Madrid and the San Carlos Royal Academy in Valencia.
Likewise, in the exhibition it will be possible see the book “Il Campo Marzio dell’antica Roma” (“Field of Mars of the Ancient Rome”) (first edition, 1762). This work, essential treatise to understand the defence made of Rome by Piranesi during a time when the supremacy of Rome was controversial, reflects the energy of this artist, archaeologist and polemicist from Venice.
Piranesi etched the most well known places and monuments of the eternal city. These etchings were used as souvenirs for the fist tourists from North Europe, a first approach to our postcards. They are perfectly dated and catalogued, and gather 30 years of engraving his adoption city. Among others, views such as the one of Tiberina Island, the three of Coliseum, and of Cestia Pyramid, Tivoli Cascade and Vila Pamphili created an image of Roma and its surroundings and spread it throughout Europe. On other hand, Piranesi also reflected views where nature and vegetation give prominence to the place, such as the Tivolo waterfalls, with its abundant water and its trees silhouetted against the sky like Rococo candelabra arms, or the Temple of Minerva like a romantic tower of Babel, or Vila Adriana Gallery that is an explosion of vegetation of extraordinary visual power.
It is all made as if the engraving were a painting, with a chiaroscuro technique which only the engraver Rembrandt had achieved until then. This is why Piranesi has been described as “the Rembrandt of the ruins”.