And, while doing so, photography managed to reveal the oversizing and dilatant view Piranesi applied to the monumental relics of Rome, as was common at the time in order to present their fascination to the Grand Tour travellers. Both the masters’ works are characterized by clarity of perspective punctuated with lucidity and luministic effects, that create a dialogue among the complex views of Rome, that is the scope for both the authors.Īccording to the curator Luca Massimo Barbero Curatore, “Gabriele Basilico, master of the urban landscape, in the views of Rome he shot in 2010 for the Fondazione Cini, had to deal with the ‘magnificence of ancient as well as modern Rome’, adapting the camera point of view to the vantage point of the Venetian celebrated engraver”. The images reveal interesting similarities as well as differences in the representation of the topoi (place)that have fascinated so many travellers over time. Architect, Etcher, Vedutista, Designer, staged at the Fondazione Cini in 2010. Some of the great symbolic landmarks of Rome are immortalized in twenty-five original prints created in the 18th century by the Venetian engraver, selected from the complete corpus preserved in the Cini graphic art collections, and in twenty-six views of the eternal city by Basilico, shot from the same viewpoint as the Piranesi etchings, including twelve not shown in the exhibition The Arts of Piranesi. A way of comparing between lyrical cityscapes of Rome featuring the historic etchings by Giambattista Piranesi and the photographs by Gabriele Basilico depicting the contemporary city is on stage at Palazzo Cini Gallery at San Vio, in Venice. The Venetian artist Giambattista Piranesi was born three centuries ago (Venice, 1720 – Rome, 1778), and the Fondazione Giorgio Cini dedicates the exhibition Piranesi Rome Basilico to him and to a well-known Italian photographer.
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