View of Nero's aqueduct, Rome by Luigi Rossini

View of Nero's aqueduct, Rome 1823

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drawing, print, etching, engraving

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drawing

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neoclacissism

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print

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pen sketch

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etching

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landscape

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romanticism

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cityscape

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engraving

Dimensions sheet: 21 3/4 x 30 1/2 in. (55.3 x 77.5 cm) plate: 17 1/4 x 21 1/16 in. (43.8 x 53.5 cm)

Editor: So, here we have Luigi Rossini's "View of Nero's aqueduct, Rome," created in 1823 using etching and engraving. I'm immediately struck by how the delicate lines capture the immense scale and decaying grandeur of the aqueduct. It's quite somber. What do you see in this piece? Curator: Indeed. Rossini presents us not just with a ruin, but a powerful statement about the passage of time and the shifting power structures it reveals. Think about the context: early 19th-century Rome. Napoleon had come and gone. There's a fascination, almost an obsession, with the glories of the Roman Empire, but seen through the lens of its decline. Editor: So it’s about more than just depicting the aqueduct itself? Curator: Precisely. Consider who’s commissioning and consuming these images. You have a rising bourgeois class across Europe, hungry for knowledge and status. These prints become visual trophies, symbols of their cultural capital, reminding them of their connection to a classical past they were inheriting, even as the old aristocratic order crumbled. Rossini isn't simply showing us the aqueduct; he’s showing us the relationship between the past and present, between power and ruin, consumed as imagery by new elites. How do you interpret the people within the landscape? Editor: I hadn’t considered them within that framework! They appear to be ordinary citizens almost dwarfed by the structure, going about their lives near these ruins. So maybe they symbolize this continuation of life even amongst the fall of empires? Curator: Exactly! They are a deliberate element, reinforcing this complex interplay of historical legacy and everyday life, which made it appealing and consumable by patrons from the upper classes. Editor: That's fascinating. I originally just saw it as a beautiful rendering of an old structure, but now I see all of these embedded social and political elements. Thank you. Curator: My pleasure! It is always rewarding to discover the layers beneath an artwork’s surface. It changes the experience from simple admiration to thoughtful engagement.

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