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This image displays a printed newspaper article mounted on a light brown, three-hole-punched paper folder.

Document Details:

• Headline: "Piranesi art nightmarish: Prints, drawings now at Fogg"
• Byline: "By ROBERT GARRETT, Art Critic"
• Publication: The Herald American
• Date: March 5, 1978
• Page Number: "4." is printed in the top left corner.
• Content: The article is a review of an exhibition of works by the 18th-century artist Giovanni Battista Piranesi, currently on display at the Fogg Art Museum. It discusses his "nightmarish" architectural visions, his famed "Vedute di Roma" (Views of Rome), and his "Carceri" (Prisons) series, interpreting his work as an expression of awe, dread, and the sublime, stemming from his fascination with antiquity, decay, and the overwhelming scale of space. The critic references the Arthur M. Sackler collection and mentions Piranesi's self-portrait, his frustration with unrealized architectural projects, and his influence on later artists like Coleridge.

Handwritten Annotation:

• In the top right corner, there is a handwritten note in blue ink that reads: "Copy in Exhib File" with an arrow pointing to the right.

Physical Presentation:

• The white newspaper clipping is centered on the brown folder, which is likely an archival or filing folder.
• The folder has three punched holes along its left edge, indicating it is meant for use in a binder or file system.
• The overall appearance suggests this is an archival copy of a published review, filed for reference, perhaps for an exhibition record or a collection of critical responses.

In summary, the image is a physical copy of a 1978 art critique about a Piranesi exhibition, preserved in a folder with a handwritten note indicating its placement in an exhibition file.

The image appears to be a scan of an article or a review printed on a yellowed piece of paper, which is placed on a light brown folder or binder. The article is titled "Piranesi art nightmarish: Prints, drawings now at Fogg" and is dated March 5, 1978. It is authored by Robert Garrett, described as an Art Critic. The article discusses Piranesi's artworks, particularly focusing on his prints and drawings, and their exhibition at the Fogg Art Museum. It delves into the artist's artistic style, his landscapes of the mind, and the emotional impact his works have on the viewer. The text is structured into several paragraphs, with a few underlined or highlighted phrases, possibly indicating important points or quotes. The paper has a few visible stains and scratches, suggesting it might be an older document. The overall tone of the article is analytical and critical, evaluating Piranesi's artistic contributions.

This image shows a printed article mounted on a cardboard backing. The article, titled "Piranesi art nightmarish: Prints, drawings now at Fogg," is by Robert Garrett, an art critic. The article discusses the works of Giovanni Battista Piranesi, particularly his "Veduti di Roma" series and his "Carceri" series, which are on display at the Fogg Art Museum. The article praises Piranesi's ability to evoke a sense of oppression and brooding through his detailed and nightmarish architectural environments. It also mentions the artist's unpublished remodeling plans for the Basilica of San Giovanni and how these works reflect themes of alienation and the passage of time. The article is dated March 5, 1978, and is from "The Herald American." There is a handwritten note on the top right corner of the article that says "Cut 16 Exhib Folio." The article is formatted with justified text and has a three-column layout. The cardboard backing has two punched holes on the left side, suggesting it was part of a binder or portfolio.

The image is a newspaper clipping from "The Herald American," dated March 5, 1978. The clipping is mounted on a brown folder. The article is titled "Piranesi Art Nightmare: Prints, Drawings Now at Fogg" and is written by Robert Garrett.

The article discusses the works of Giovanni Battista Piranesi, an 18th-century artist known for his architectural prints and etchings. Piranesi's works are described as both fascinating and nightmarish, capturing the grandeur and decay of ancient Roman architecture. The article highlights an exhibition of Piranesi's prints and drawings at the Fogg Art Museum, which offers a comprehensive view of his career and artistic evolution.

The text mentions Piranesi's use of perspective and his ability to evoke a sense of awe and terror through his depictions of monumental structures. It also touches on the psychological impact of his works, suggesting that they can induce a sense of oppression and obsession in viewers. The article quotes Piranesi's own words about his artistic process and the inspiration behind his creations.

The clipping is annotated with a handwritten note in the top right corner, which reads "Copy in: Serlib, fully." This note likely indicates that a copy of the article is available in a specific collection or archive, possibly related to the artist Serlio or another reference point. The note suggests that the article is fully included in that collection.

The image is a page from a newspaper clipping. The headline reads "Piranesi art nightmarish: Prints, drawings now at Fogg." The article is written by Robert Garrett and dated March 5, 1978. The article discusses an exhibition of Giovanni Battista Piranesi's works at the Fogg Art Museum, highlighting the artist's architectural prints and drawings that convey a sense of oppression and obsession. The article also mentions Piranesi's "Vedute di Roma" or "Views of Rome," which depict the city's ancient ruins and monuments in a melancholic and fantastical manner. The article concludes by noting that Piranesi's work continues to resonate with contemporary audiences, offering a powerful vision of the past that remains relevant today.

The image depicts a printed article titled "Piranesi art nightmare: Prints, drawings now at Fogg" by Robert Garrett, published in The Herald American on March 5, 1978. The article is displayed on a simple, brown cardboard-like surface, likely part of an exhibition or display board. The text is neatly typed and formatted, with a clear heading and subheading.

Key Details from the Image:

1. Title and Subtitle:

   • The main title is "Piranesi art nightmare: Prints, drawings now at Fogg", suggesting a review or commentary on an exhibition of Piranesi's work at the Fogg Art Museum.

2. Author and Publication:

   • The article is authored by Robert Garrett and published in The Herald American on March 5, 1978.

3. Content Overview:

   • The article discusses the work of Giovanni Battista Piranesi, an 18th-century artist known for his dramatic and haunting architectural etchings.
   • It highlights Piranesi’s "The Prisons" series, which evokes a sense of oppression and obsession, comparing the imagery to modern architectural spaces like Grand Central Station in New York.
   • The article describes Piranesi’s work as a blend of fantasy and reality, noting how his prints often depict crumbling, grandiose temples and crumbling ruins, creating a surreal and haunting atmosphere.
   • It mentions Piranesi’s "Vedute di Roma" (Views of Rome), which captures the city’s ruins and ancient structures, emphasizing the passage of time and decay.
   • The article also touches on Piranesi’s self-portrait, describing it as a tragic and haunting image of the artist himself.

4. Exhibition Context:

   • The article references an exhibition at the Fogg Art Museum, where Piranesi’s prints and drawings are on display. It notes that the Fogg is showing a major collection of Piranesi’s work, including early prints from the "Carceri" (Prisons) series.

5. Visual and Thematic Elements:

   • The article emphasizes Piranesi’s ability to evoke a sense of awe and dread, comparing his work to the experience of navigating modern urban environments.
   • It discusses how Piranesi’s art bridges the gap between fantasy and reality, creating a timeless and evocative experience.

6. Handwritten Annotations:

   • There are handwritten notes in the top-right corner of the page, including the words "Cpr in Exh 5/78" and "Exh 5/78", which likely indicate the exhibition details or cataloging information.

Overall Impression:

The image shows a well-preserved article that provides a thoughtful and detailed exploration of Piranesi’s art, situating his work within both historical and contemporary contexts. The article appears to be part of a larger exhibition or display, as suggested by the handwritten annotations and the formal presentation on the cardboard surface. The content reflects a deep appreciation for Piranesi’s ability to capture the grandeur and decay of architectural spaces through his intricate and evocative prints.

This is a scan or photograph of a newspaper clipping titled "Piranesi art nightmarish: Prints, drawings now at Fogg". It is authored by Robert Garrett and was published in The Herald American on March 5, 1978. The article discusses an exhibition of Giovanni Battista Piranesi's art at the Fogg Art Museum, focusing on his architectural drawings and prints. The text examines Piranesi's themes, including his haunting depictions of prisons and architectural spaces, and their psychological impact. There are some handwritten notes on the top-right corner of the clipping, likely related to "city in exib fully." The clipping is mounted on a simple brown cardstock support with a hole punch on the left side.

This image shows a newspaper clipping affixed to a brown backing paper. It appears to be an article from "The Herald American" dated March 5, 1978. The title of the article is "Piranesi art nightmarish: Prints, drawings now at Fogg," written by Robert Garrett. The article features two columns of text and a small image or icon resembling a clasped pair of hands. The clipping itself is labeled "Copy 1" with additional writing that seems to say "Exhib //" in handwritten ink.

The article discusses the works of the artist Piranesi and his exhibition at the Fogg Art Museum, referring to the nightmarish qualities of his art and its architectural themes. It also mentions a bit about Piranesi's biography, likely giving insight into the historical influence on his work.

The image shows a mounted newspaper clipping titled "Piranesi art nightmarish: Prints, drawings now at Fogg" written by Robert Garrett, an art critic. The article discusses the surreal, oppressive architectural work of Giovanni Battista Piranesi, particularly his "The Prison" prints. It mentions how these nightmarish dungeons evoke feelings of fear and confusion, drawing parallels to modern bureaucratic labyrinths and other architectural works like San Giovanni's basilica. The article explores Piranesi’s artistic vision, his frustrated attempts at real-world architecture, and his focus on decay and alienation. It also references an exhibition of Piranesi’s prints and drawings from the Arthur M. Sackler collection at the Fogg Art Museum. The date at the bottom of the clipping is March 5, 1978, and the publication is The Herald American. There are also some handwritten notes on the top right corner which are partially legible.

An archival newspaper clipping mounted on a light brown cardboard backing. The clipping is a page titled “Piranesi art nightmarish: Prints, drawings now at Fogg” by Robert Garrett, Art Critic, from The Herald American (dated March 5, 1978). It’s laid out in narrow columns of text, with a small handwritten note in pencil on the upper right of the clipping. The backing has two punch holes along the left edge. The overall look is vintage and archival, set against a gray background.