Piranesi's Candelabra and the Presence of the Past
Excessive Objects and the Emergence of a Style in the Age of Neoclassicism
Series: Classical Presences;
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Product details:
- Publisher OUP Oxford
- Date of Publication 16 February 2023
- ISBN 9780192845665
- Binding Hardback
- No. of pages224 pages
- Size 253x197x18 mm
- Weight 668 g
- Language English 488
Categories
Short description:
This volume explores the creation and reception of Piranesi's three colossal neoclassical candelabra. Caroline Van Eck's study explores the intense interest taken by producers and consumers of art objects in objects that made the classical live again in the late 1700s and early 1800s.
MoreLong description:
Near the end of his life, Giovanni Battista Piranesi (1720-78) created three colossal candelabra mainly from fragments of sculpture excavated near the Villa Hadriana in Tivoli, two of which are now in the Ashmolean Museum, and one in the Louvre. Although they were among the most sought-after and prestigious of his works, and fetched enormous prices during Piranesi's life, they suffered a steep decline in appreciation from the 1820s onwards, and even today they are among the least studied of his works. Piranesi's Candelabra and the Presence of the Past uncovers the intense investment, by artists, patrons, collectors, and the public around the start of the nineteenth century in objects that made Graeco-Roman Antiquity present again. Caroline van Eck's study examines how objects make their makers or viewers feel that they are again in the presence of Antiquity, that not only Antiquity has revived, but that classical statues become alive under their gaze. what it takes to make such objects, and what it costs to own them; and about the ramifications of such intense if not excessive attachments to artefacts. This book considers the three candelabra in depth, providing the biography of these objects, from the excavation of the Roman fragments to their entry into private and public collection. Van Eck considers the context that Piranesi gave them by including them in his Vasi, Candelabri e Cippi (1778), to rethink the processes that led to the development of neoclassicism from the perspective of the objects and objectscapes that came into being in Rome at the end of the eighteenth century.
The book's originality comes in its approach to tackling these questions. Van Eck has purposefully turned away from formal art history and the usual narratives of the birth of neoclassicism in favour of adopting the concepts of human?thing entanglements and the agency of objects, which are now so popular in archaeology.
Table of Contents:
Introduction
'A Neoclassical Dream and an Archaeologist's Nightmare': Piranesi's Colossal Candelabra in the Louvre and Ashmolean Museum
Candelabra in Antiquity, their Rediscovery, and Reception
Making Antiquity Materially Present
Animal Features
Animation, Immersion, and the Revival of Antiquity
Movement, Animation and Intentionality
Conclusion: 'Antiquity is only now coming into Being'. The Origins of the Style Empire and the Turn towards the Object, 1770-1820.
Piranesi's Candelabra and the Presence of the Past: Excessive Objects and the Emergence of a Style in the Age of Neoclassicism
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