Piranesi’s “Carceri d’Invenzione” animated

Posted filed under3D, Animation, Architecture, Featured, Videos.


Factum Arte in Madrid has made an animation film based on Giovanni Battista Piranesi‘s Carceri d’Invenzione prints; and have also built many of his pieces which shows the workings of his imagination, merging his architectural ambitions with his obsessive interest in antiquity. Giovanni Battista Piranesi was a source of inspiration for, among others, Goya, Poe, Escher, Max Ernst, De Chirico.

Wikipedia: The Prisons (Carceri) – The Prisons (Carceri d’invenzione or ‘Imaginary Prisons’), is a series of 16 prints produced in first and second states that show enormous subterranean vaults with stairs and mighty machines.

These in turn influenced Romanticism and Surrealism. While the Vedutisti (or “view makers”) such as Canaletto and Bellotto, more often reveled in the beauty of the sunlit place, in Piranesi this vision takes on a Kafkaesque, Escher-like distortion, seemingly erecting fantastic labyrinthian structures, epic in volume. They are capricci, whimsical aggregates of monumental architecture and ruin.

The series was started in 1745. The first state prints were published in 1750 and consisted of 14 etchings, untitled and unnumbered, with a sketch-like look. The original prints were 16” x 21”. ” More at Wikipedia

Piranesi’s “Carceri d’Invenzione”

Artist Grégoire Dupond says: “I made this animation film based on Piranesi’s Carceri d’Invenzione prints as a walk through these amazing spaces.
I used camera mapping (Projection Man) and camera animation with Maxon’s Cinema4D, building 6 different scenes that were merged together in a single continuous animation.
The film was made and produced by myself for Factum Arte (Madrid) who supported me in making this film and the Fondazione Giorgio Cini (Venezia) who provided scans of their own print collection, for an exhibition about Piranesi that took place in San Giorgio Maggiore, Venezia, in 2010/2011. The exhibition will be showing in Spain, Madrid and Barcelona, in 2012 before going to the US, and beyond.”

Piranesi: 3D modelling of a fireplace

A short animation of the virtual modelling of a fireplace by Giambattista Piranesi, realised in collaboration with voxelstudios.
Le Arti di Piranesi: architetto, incisore, antiquario, vedutista, designer (The Art of Piranesi: architect, engraver, antiquarian, landscape artist, designer) opened to coincide with the Venice Biennale of Architecture, showcased in the Sale del Convitto on the island of San Giorgio Maggiore.

More information:
factum-arte.com/eng/conservacion/piranesi

READ: Chronicle.com – Behind Historic Preservation, a Surreal History - Excerpt: “Giovanni Battista Piranesi, a failed Venetian architect, found his calling in the ruins of classical Rome. By the 1740s, when Piranesi moved there, the Eternal City was eternal in name only. Its temples and arches were viewed less as historic treasures and more as standing quarries, cheap sources of raw materials. Long before Piranesi arrived in Rome, much of the Colosseum had been stripped of usable stone. Maffeo Barberini, who reigned as Pope Urban VIII, had carted off the bronze of the Pantheon; “what the barbarians didn’t do,” the joke went, “the Barberini did.” The alternative to plunder was benign neglect: Hovels and shops clustered hard on the Arch of Titus, and the Roman Forum was better known as the Campo Vaccino—the Cow Field.

In an age whose attitude toward old buildings was far more utilitarian than ours, Piranesi was one of the first to be bothered by the decay. In the preface to one of the art collections that would make him famous, he wrote, “Seeing that the remains of the ancient buildings of Rome, scattered for the most part in gardens and fields, are being day by day reduced by the injuries of time or by the greed of their owners who, with barbarian license, secretly demolish them to sell the rubble for modern houses, I decided to preserve them in these plates.”

His weapon in this campaign of preservation was a hugely popular series of etchings—the Vedute di Roma (“Views of Rome”) and the Antichità (“Antiquities”)—that captured the ruins in all their decrepit, imposing glory. If Piranesi the antiquarian was scandalized by the state of ancient Rome, Piranesi the artist and businessman was intrigued. Few works in any era can match his Vedute for combined artistic influence, commercial success, and political impact.”

Read on at Chronicle.com