In the original drawing, the “A” frame and top of a saw horse is also visible in the lower right. Out of the 16 prints in the prison series, one print commonly known as, “The Saw Horse” is of particular interest in that it shares one important element with the drawing being examined – suggesting that it may have been an early preparatory sketch for the engraving.Īs seen in, a saw horse is prominently placed in the lower right. Both show large arched openings and heavy grates across windows with ropes hanging from ceilings and wooden braces. The first printing of 14 prints in this series began around 1749 with a second state of 16 prints reworked and issued in 1761.Īn examination of the “Imaginary Prison Series” and the original drawing reveal they have many elements in common. The most famous of these would have to be a series of fantastical engravings known as, “Invenzioni Capric di Carceri” – or the “Imaginary Prison Series.” In this series, Piranesi began to use an exaggerated scale of size, impossible geometry and multiple vanishing points as a way to create an oppressive and foreboding atmosphere to his art. All of these images share subject matter, technique, artistic style, and similar use of media with the artwork being examined.Īs an engraver, Piranesi was well-known for his expansive, Italian architectural scenes. Additional sketches and drawings by the artist were found in the National Archives of Scotland and in the British Museum digital archives. A digital search of the National Gallery of Art found at least 21 original Piranesi drawings. The unusual subject matter and the artist’s distinctive technique, style and choice of media - including the type of paper that was used – suggests this could be a sketch by the 18th century Italian artist, Giovanni Battista Piranesi. Visual examination of the paper can not precisely set a date of manufacture however, from both it’s patina and construction, we identify it as being similar to paper found on drawings made by European “Old Masters”. Finally, detailing in black ink applied by pen was done to further define the image. Additionally, a neutral medium grey, a lighter rose toned gray and an opaque medium/light grey were also used. Four distinct washes were applied by brush including a dark warm grey applied to the shadows. A microscopic examination of the work indicates that graphite pencil was first laid down as an outline then, the artist “blocked” in further details in black ink using both pen and brush. In some areas, graphite pencil is also visible. "Artwork is an original architectural sketch done on quality rag paper in pen and brush using warm black and sepia toned inks and washes. "EF" are the initials of noted architect and collector of old master drawings Edmond Fatio (Swiss, 1871-1959)Ī full copy of this assessment is available upon request Ink and wash on paper, framed under glass
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