Convento E Chiesa Di Bonaria 1893

Giuseppe Barberis created this drawing of Convento E Chiesa Di Bonaria using engraving to meticulously capture architectural detail. The composition divides our attention between the convent’s linear expanse and the church’s arched façade. Notice how Barberis uses line to define form, creating depth and texture. The parallel hatching gives a tactile quality to the stone, while the rigid geometry contrasts with the organic growth in the foreground. This interplay highlights a tension between human order and nature's chaos. The arches themselves become semiotic signs. Their repetition suggests not just physical structure but also philosophical concepts of transcendence. Light and shadow play across the surfaces, reinforcing the three-dimensional qualities. Consider how Barberis engages with the conventions of architectural representation. By emphasizing certain lines and omitting others, he invites us to interpret space and meaning, recognizing that art is not simply a mirror but an active construction of reality.