Cover Image

Piranesi's Candelabra and the presence of the past : excessive objects and the emergence of a style in the age of neoclassicism /

Show other versions (1)

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.

Bibliographic Details
Main Author: Eck, Caroline van (Author)
Format: eBook
Language:English
Published: Oxford ; New York : Oxford University, 2023.
Edition:First edition.
Series:Classical presences.
Subjects:
Piranesi, Giovanni Battista, > 1720-1778 > Criticism and interpretation.
Piranesi, Giovanni Battista, > 1720-1778
Neoclassicism (Art)
Art and society > Italy > History > 18th century.
Rome > Antiquities.
Néoclassicisme (Art)
Art et société > Italie > Histoire > 18e siècle.
Rome > Antiquités.
Antiquities
Art and society
Italy
Rome (Empire)
History of art.
Art and Design.
1700-1799
Electronic books.
Criticism, interpretation, etc.
History
Online Access:Connect to the full text of this electronic book
Table of Contents:
  • Intro
  • Series page
  • Series page
  • Title page
  • Copyright page
  • Acknowledgements
  • Contents
  • List of Illustrations
  • Introduction
  • 0.1 A Changing Objectscape
  • 0.2 Human-Thing Entanglement and Neoclassicism, c. 1800
  • 0.3 The Material Turn c. 1800 and the Emergence of a New Style
  • 0.4 The Argument of This Book
  • 1. 'A Neo-Classical Dream and an Archaeologist's Nightmare': Piranesi's Colossal Candelabra in the Louvre and Ashmolean Museum
  • 1.1 The Emergence of the Candelabra
  • 1.2 The Lives of Piranesi's Candelabra
  • 2. Candelabra in Antiquity, their Rediscovery, and Reception
  • 2.1 A Brief History of Candelabra
  • 2.2 Roman Candelabra and Their Cultural Meanings
  • 2.3 Piranesi's Candelabra and Roman Specimens
  • 2.4 Piranesi on Composition
  • 2.5 A Drastic Change in Appreciation
  • 3. Making Antiquity Materially Present
  • 3.1 The Vasi, Candelabri, Cippi...
  • 3.2 The Museo Borgiano and Related Ethnographic Collections
  • 3.3 Plaster Cast Collections as Restoration Laboratories
  • 3.4 Restoration
  • 4. Animal Features
  • 4.1 Animal Features in Piranesi's Late Works
  • 4.2 Patterns and Sources
  • 4.3 Reluctant Animal Servants
  • 4.4 Totemism
  • 5. Animation, Immersion, and the Revival of Antiquity
  • 5.1 Changing Reactions to the Liveliness of Statues
  • 5.3 Torchlight Visits and Tableaux-vivants
  • 5.4 Empire Objects: Entanglement Embodied
  • 5.5 The Immersive Powers of Objects
  • 6. Movement, Animation, and Intentionality
  • 6.1 Animation and Human-Thing Entanglement
  • 6.2 The Uncanny Valley
  • 6.3 Movement and the Attribution of Causality and Intentions
  • 6.4 Theory of Mind and the Attribution of Life to Artefacts
  • 6.5 The Attribution of Anthropomorphism to Art Works
  • 7. Conclusion: 'Antiquity is Only Now Coming into Being': The Origins of the Style Empire and the Turn towards the Object, 1770-1820.
  • 7.1 The Candelabra and Their Lives
  • 7.2 The Progeny of the Artefacts in Piranesi's Museo
  • 7.3 A Radically Changed Objectscape
  • References
  • Index.