Façade van Palazzo Bonaparte after 1655

Editor: This is Giovanni Battista Falda's "Façade van Palazzo Bonaparte," a print in ink on paper from after 1655. I’m struck by its formality and precision – it feels very staged, like it’s trying to project an image of power. What's your interpretation of this building, and its representation here? Curator: You've rightly pointed out the staging. This print needs to be understood as a cultural document as much as an architectural one. Consider how these prints circulated – they weren't just for architects. They were consumed by wealthy tourists, potential landowners, and even other artists, each audience seeking to claim, literally "possess" in print, the prestige embodied in Roman architecture. Falda's print flattens and idealizes the Palazzo. What do you think this does for the building's significance? Editor: It kind of turns it into a symbol, almost erasing its lived reality as a building for people. I guess this relates to how the image would have functioned back then and maybe still functions today? Curator: Exactly! These prints became tools for cultural capital. Owning the print was almost like owning a piece of Rome itself. Falda capitalized on a burgeoning market, feeding into a desire for the grand tour experience even if one couldn't afford the actual trip. It democratized the image of power while reinforcing existing social hierarchies. It’s intriguing how printmaking, in its capacity to replicate and distribute images, altered the reception and even the understanding of architecture, wouldn’t you agree? Editor: That's fascinating, framing it in terms of access and the democratization of imagery. I hadn't considered that its circulation was part of the artwork's significance. Curator: Indeed. Reflecting on Falda's print makes us reconsider the interplay of image, architecture, and social status, and its impact on today's artistic and cultural landscape.