← Giovanni Battista Piranesi

The Tomb of Nero, from "Grotteschi" (Grotesques)

Original title: The Tomb of Nero, from "Grotteschi" (Grotesques)

Artist

Giovanni Battista Piranesi

Date

ca. 1748

Medium

Etching, engraving, drypoint, scratching; second state of six (Robison)

Dimensions

Sheet: 19 1/2 x 25 3/16 in. (49.5 x 64 cm) Plate: 15 3/16 x 21 7/16 in. (38.6 x 54.4 cm)

Credit line

Harris Brisbane Dick Fund, 1937

kurzbeschreibung

Giovanni Battista Piranesi's etching "The Tomb of Nero" was made around 1748 and presents a ruined landscape in which a shattered monument is overgrown with vegetation. The sheet belongs to the "Grotteschi" series and was executed in etching with engraving, drypoint, and scratching; it is the second of six states.

Description

A large, dilapidated monument with columns and architectural fragments occupies the middle of the image, densely entwined with tendrils and flowers. To the right, further ruins and trees stand in the distance, also covered in plants. On the left, part of a bridge or arch appears, likewise draped in vegetation. Clouds and smoke surround the scene, creating a mood of decay and destruction. The picture surface is filled asymmetrically, the light diffuse; the gray tones of the etching reinforce the impression of neglect.

Context

The "Grotteschi" series emerged during Piranesi's early years in Rome, when he was deeply engaged with ancient ruins and their representation. At that time he was establishing himself as an architect and vedute draftsman, before achieving international fame with the "Carceri." The title "Tomb of Nero" is fictitious and unsupported by any archaeological evidence; Piranesi used such labels to fire the viewer's imagination.

Impact

A somber, melancholy mood emanates from the print, intensified by the dense vegetation and diffuse clouds. The overgrown ruins appear at once majestic and transient, prompting reflection on the decline of ancient grandeur. The detailed execution invites close exploration of the picture surface.

Technique

Etching, supplemented by engraving, drypoint, and scratching, enables fine line work and nuanced gray values. With these techniques Piranesi rendered both architectural details and lush vegetation precisely, while also creating atmospheric depth.

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Source: Metropolitan Museum of Art · Public Domain (CC0 1.0)