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Design Blog Design Blog » Piranesi as Designer » Sheer Invention

Sheer Invention


Piranesi’s originality lay in his eclecticism. Pulling together influences from Egyptian, Etruscan, Ancient Roman, and Greek designs, Piranesi presented a hybrid design system that was rooted in his commitment to the stature and importance of the Roman design heritage. From this starting point, the architectural elements move from historical recreations to articulated fantasy. While his contemporaries championed the supremacy of the Greek taste, Piranesi held on to his belief that the Romans were every bit as relevant to the course of architecture and design.

Much like post-modern architects, Piranesi believed that new design can result from re-combining existing motifs, ideas, and designs. One look at the magnificent spread of his imaginary architectural composition in the Parere su l’Architettura of 1765 instantly reveals his design aesthetic. Not only is the façade enormous, but it demonstrates an assemblage of elements from all the ancient sites and cultures from the Mediterranean. Greco-Roman elements are balanced on Egyptian lintels and pillars and columns support strange hybrids.

At the time, Piranesi was keenly aware of how his originality was ruffling the feathers of his Italian contemporaries, many of whom considered him a difficult personality and gave him a wide berth. Undaunted, Piranesi’s rebuttal to their disapproval of his design aesthetic was, “They despise my novelty, I their timidity.”

About the Author: Floramae McCarron-Cates is associate curator of the Drawings, Prints, and Graphic Design Department at Cooper-Hewitt.
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Comments

  1. Terrific exhibit. I have been a fan since archtiecture school in the ’80s. I was particularly interested in the discussion of Piranesi’s influence on his contemporaries as well as our own (I used to work for Bob and Denise at VRSB). But I have a serious question. More than 20 years ago, I purchased a Piranesi engraving that was refered to as a “First Paris Printing” rather than a “Rome Printing”. It is as strikingly beautiful as any Piranesi I’ve seen and the enscription is “Elvazione ortografica del Tempio d’ Ercole nella citta di Cora”. I was hoping to see it on display or in the catalogue – but no luck. And when I searched the internet, all I could locate was the perspective view (mine is an elevation) of the Temple of Hercules. So, what do you think? Is it a fake, an engraving by someone else in the style of Piranesi? Is it a “lost” image or simply one that is un-heralded (among the skazillion P. had done)? Should I bring it by? Would the curator like to see it? If it ius worthwhile, would you be interested in borrowing it for the exhibit? Please let me know what you think. Best regards, and again, great exhibit.

    James King | Oct 25, 06:10 PM

  2. very good

    deolinda Paulo | Mar 4, 03:14 PM

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