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Philine Van Rennes Grafische Voorstellingen Van De Via Appia Ca

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Grafische voorstellingen van de Via Appia ca. 1500-1850 Philine van Rennes Promotor: prof. dr. ir.-arch. Maarten Delbeke Begeleider: Ben Vandenput Masterproef ingediend tot het behalen van de academische graad van Master of Science in de ingenieurswetenschappen: architectuur Vakgroep Architectuur en Stedenbouw Voorzitter: prof. dr. ir. Arnold Janssens Faculteit Ingenieurswetenschappen en Architectuur Academiejaar 2017-2018 2 3 4 VOORWOORD Ruim een jaar geleden nam ik de lijst met mogelijke thesisonderwerpen door. Daarin zocht ik naar een onderwerp binnen het vakgebied van de architectuurtheorie of architectuurgeschiedenis. Mijn oog viel al gauw op een titel aangaande de Via Appia. Dit onderwerp wekte meteen mijn nieuwsgierigheid. Tijdens het middelbaar heb ik zes jaar lang Latijn gevolgd. Daarin spraken naast de tekstvertalingen ook de historische lessen mij sterk aan. Ik herinner mij dat ik toen zelfs enkele grafschriften van de Via Appia heb vertaald. Mijn interesse voor oude constructies duurde voort tijdens mijn opleiding van burgerlijk ingenieur- architect aan de UGent. Daarin kwam ik tijdens de vakken Architectuurtheorie I en Architectuurgeschiedenis I in aanraking met de prentproductie van Piranesi. Deze architecturale toepassing heeft mij sindsdien altijd geboeid. Wanneer professor Delbeke een grafische benadering van de Via Appia voorstelde, was ik meteen zeer enthousiast. Ik heb dan ook niet lang gewacht om het onderwerp ‘Grafische voorstellingen van de Via Appia’ als eerste keuze op te geven. Deze thesis was voor mij een aanleiding om de relatie tussen beeldende kunst en architectuur te onderzoeken. Als kind heb ik jarenlang kunstacademie gevolgd. Nog steeds ga ik graag naar musea en boeit kunst mij. Ik vond het dan ook zeer interessant om hiermee opnieuw in aanraking te komen tijdens mijn architecturale opleiding. Het raakvlak tussen architectuur en kunst en de soms dunne lijn die beide scheidt is intrigerend. Onderhavige tekst onderzoekt vooral de verschillen in weergave van de Via Appia en haar architectuur. Ze schetst eerst de ontstaansredenen van de weg in de oudheid. Vervolgens tekent ze de kantlijnen van haar verdere behandeling in de wereld van de prentkunst. De nadruk ligt uiteraard op het tweedelige onderzoek naar de grafische voorstellingen. Als eerste wordt het graf van Priscilla uitgelicht aan de hand van de prenten waarin zij afgebeeld staat. Na deze marginale verzameling volgt de canonische collectie van het nymphaeum van Egeria. Beide analyses zijn doorspekt met visuele vergelijkingen van het werk van verscheidene kunstenaars. Daarbij wordt regelmatig de link gezocht met de ligging van het gebouw langs de Via Appia. Bij deze wil ik graag een paar mensen bedanken die mij wezenlijk hebben geholpen tijdens het schrijfproces van deze masterthesis. In de eerste plaats wil ik mijn promotor prof. dr. Maarten Delbeke bedanken om het thesisonderwerp aan mij voor te stellen en me te begeleiden bij het zoeken van de juiste richting voor het onderzoek. Ik wil hem danken om zijn kostbare tijd voor mij vrij te maken tijdens de begeleidingsmomenten en op al mijn vragen te antwoorden. Ook wil ik hem bedanken voor wat hij drie jaar geleden tijdens zijn lessen Architectuurtheorie I heeft gedaan: zijn liefde voor de architectuurtheorie doorgeven. Vervolgens wil ik graag mijn mama Chris Vandenbussche bedanken om iedere keer opnieuw mijn teksten na te lezen. Eveneens wil ik haar bedanken om mij te steunen doorheen het hele proces en altijd in mij te geloven, in het bijzonder wanneer ik daar zelf moeite mee had. Ten slotte wil ik mijn vriend Michiel De Maré bedanken om mijn thesis na te lezen, ondanks dat hij zelf in de blokperiode zat. Ik wil hem evenzeer bedanken voor de ontspannende uitstappen die hij plande tijdens onze beperkte pauzes. Philine van Rennes, Merelbeke, 5/06/’18 5 INHOUD Voorwoord .............................................................................................................................................. 5 I. Inleiding ........................................................................................................................................... 9 II. Methodologie ................................................................................................................................ 11 1. Onderzoeksmethode ................................................................................................................. 11 2. Bijschriften ................................................................................................................................. 13 III. De Via Appia tijdens de oudheid ............................................................................................... 15 1. Reizen in contact met de omgeving .......................................................................................... 15 2. De Via Appia, koningin van alle wegen ..................................................................................... 15 2.1. Oorlog en verovering ......................................................................................................... 16 2.2. Handel en communicatie................................................................................................... 17 2.3. Ingenieurstechnologie ....................................................................................................... 17 3. De monumenten langs de Via Appia ......................................................................................... 18 3.1. Monimentum monumentum ............................................................................................ 18 3.2. Andere bouwwerken ......................................................................................................... 18 IV. Het Rome van de prentkunst (ca. 1500 – 1850) ........................................................................ 19 1. Via Appia, weg van de grand tour ............................................................................................. 19 2. Kunstenaars naar Rome ............................................................................................................ 19 2.1. De Italianisanten ................................................................................................................ 19 2.2. De Bentvueghels ................................................................................................................ 21 3. Beweegredenen voor de reis .................................................................................................... 21 3.1. De leerschool ..................................................................................................................... 21 3.2. De plaats om werk te vinden ............................................................................................. 23 4. Prenten over de oudheid........................................................................................................... 23 4.1. Technieken van de prentkunst .......................................................................................... 24 4.2. Onderwerp van de prenten ............................................................................................... 24 V. Grafische voorstellingen van de Via Appia .................................................................................... 27 1. Het graf van Priscilla .................................................................................................................. 27 1.1. Situering............................................................................................................................. 27 1.2. Architectuur ....................................................................................................................... 28 1.3. Identificatie van de ruïne................................................................................................... 30 1.4. Het graf in beelden ............................................................................................................ 33 1.5. Grafische voorstellingen van Giovanni Battista Piranesi ................................................... 34 1.6. Grafische voorstellingen voor 1780 .................................................................................. 39 6 1.7. Grafische voorstellingen na 1780 ...................................................................................... 63 1.8. Reconstructies ................................................................................................................... 74 1.9. Besluit rond het graf van Priscilla ...................................................................................... 77 2. Het nymphaeum van Egeria ...................................................................................................... 79 2.1. Situering............................................................................................................................. 79 2.2. Architectuur ....................................................................................................................... 80 2.3. Het nymphaeum in beelden .............................................................................................. 83 2.4. Grafische voorstellingen van Giovanni Battista Piranesi ................................................... 84 2.5. Grafische voorstellingen van andere etsers ...................................................................... 90 2.6. Besluit rond het nymphaeum van Egeria .......................................................................
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