Giovanni Battista Piranesi and his Workshop: Two newly identified Albums at Karlsruhe

2014年，在德国西南部的卡尔斯鲁厄国立艺术博物馆有了一个惊人的发现。之前被认为是新古典主义建筑师Friedrich Weinbrenner（1766-1826）的作品的两本包含297张图纸的相册可以重新归类，并在法医上与罗马建筑师和绘图员Giovanni Battista Piranesi（1720-78）以及他的一些工作室合作者联系起来，在此发现之前，对他们的了解相对很少。支持皮拉内西工作室背景的证据（论文、技术、水印、铭文以及与皮拉内西已发表作品的整体关系），而且独立于皮拉内西本人对个别纸张的归属问题，现在可以被认为足以支持这样一个广泛的主张，该主张首先在Georg kabierke的文章中提出2015。从现在开始，我们正在处理的事情可以安全地作为“卡尔斯鲁厄皮拉内西专辑”引入文学（和巴登- <s:1>符腾堡州的遗产登记册）。这些专辑首先是任何进一步调查的“原材料”。在项目最初的两年里，经过广泛的调查和项目相关的倡议，比如在卡尔斯鲁厄（2018年4月）举行的国际会议，以及在纽约艾弗里和摩根图书馆进行的两天研究，在向几乎所有的国际专家展示了这一发现之后，我们的进展如何？这些专家恰好是18世纪罗马最重要的大师，如果不是无可匹敌的话，乔瓦尼·巴蒂斯塔·皮拉内西？因此，重点开始从对专辑及其内容的首次深入分析转向对卡尔斯鲁厄发现的艺术技术和背景问题进行更广泛的调查，这继续成为皮拉内西作品重新产生兴趣和接受的中心。这个项目可能会产生许多新的科学成果，这与一个紧张地期待着2020年艺术家诞辰100周年的调查领域有关。因此，根据第一轮非常广泛的间或发现和结果，申请另一轮融资的重点是三个密切相关的主要调查领域：a)背景（Frank/Maronnie和Kabierske）， b)艺术技术（br<s:1> ckle/Krämer）和c)卡尔斯鲁厄美术馆版画和绘图部的相册清单（mor<s:1> est）。

In 2014, an altogether spectacular discovery was made at the Staatliche Kunsthalle Karlsruhe in the South-West of Germany. Two albums containing 297 drawings, previously believed to be the work of the Neo-Classical architect Friedrich Weinbrenner (1766–1826) could be re-attributed and forensically connected with the Roman architect and draughtsman Giovanni Battista Piranesi (1720–78) as well as to some of his workshop collaborators, about whom relatively little had been known prior to this discovery. The evidence in support of an attribution to Piranesi’s workshop context (papers, techniques, watermarks, inscriptions and overall relationships with Piranesi’s published works) and moreover independently of the question of the attribution of individual sheets to Piranesi himself, can now be considered sufficient to securely uphold such a wide-ranging claim, first made in Georg Kabierske’s article of 2015. What we are dealing with can from now on be securely introduced into the literature (and patrimonial register of Baden-Württemberg) as the “Karlsruhe Piranesi Albums”.The Albums are first of all “raw material” for any further investigation. Where do we stand after the initial two project years, after extensive investigations and project-related initiatives such as an international conference at Karlsruhe (April 2018) and two study days at the Avery and Morgan Libraries of New York, thus after having presented the find to nearly all international specialists of who happens to be the foremost if not unchallenged master of eighteenth-century Rome, Giovanni Battista Piranesi? The focus is thus beginning to shift from a first-time, in-depth analysis of the albums and their contents to a much wider investigation in relation to the art-technological and contextual questions raised by the Karlsruhe find, which continues to present itself at the centre of a renewed interest in and reception of Piranesi’s work. The project is likely to produce a lot of new scientific out-put in relation to a field of investigation that nervously anticipates the third centenary of the artist’s birth in 2020. Hence this application for another round of financing, based on the very extensive intermittent finds and results of the first round, focuses on the three closely interrelated principal areas of investigation: a) the contextual (Frank/Maronnie and Kabierske), b) the art technological (Brückle/Krämer) and c) the inventory of the albums at the Prints and Drawings Department of the Kunsthalle Karlsruhe (Morét).