Ruins, monuments and heritage: relations between Giovanni Battista Piranesi and Hubert Robert in the 18th century
This paper seeks to analyze possible relationships between the works of the Italian engraver Giovanni Battista Piranesi (1720-1778) and the French painter Hubert Robert (1733-1808) in a context of emergence of the “cult of ruins” in Europe. The relationship between the two artists and their producti...
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| Tipo de recurso: | artículo |
| Estado: | Versión publicada |
| Fecha de publicación: | 2021 |
| País: | Brasil |
| Institución: | Centro Universitário La Salle (Unilasalle) |
| Repositorio: | Mouseion (Canoas) |
| Idioma: | portugués |
| OAI Identifier: | oai:ojs.revistas.unilasalle.edu.br:article/9249 |
| Acceso en línea: | https://revistas.unilasalle.edu.br/index.php/Mouseion/article/view/9249 |
| Access Level: | acceso abierto |
| Palabra clave: | Giovanni Battista Piranesi Hubert Robert cult of ruins historicity heritage culto das ruínas historicidade patrimônio Patrimônio |
| Sumario: | This paper seeks to analyze possible relationships between the works of the Italian engraver Giovanni Battista Piranesi (1720-1778) and the French painter Hubert Robert (1733-1808) in a context of emergence of the “cult of ruins” in Europe. The relationship between the two artists and their production helps to understand how the notions of monument and heritage were related to the fascination for the ruins of the past, in addition to exemplifying interpretations of the tensions and crises of historicity that emerged throughout the 18th century. To explore these tensions, some works are observed, such as the Antichitá Romane (Roman Antiquities) and the Grotteschi (Grotescos), by Piranesi; and Project for the Grande Galerie of the Louvre and Imaginary View of the Grande Galerie of the Louvre, by Robert. |
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