![]() Uncoupled from the constraints of reality, it offered them a new, “super-real” space. In the 20th century Giorgio de Chirico (1888-1978) revisited Piranesi’s idea of the paradoxical interweaving of interior and exterior space to establish a higher-level “metaphysical” setting in his paintings, a place that also played an important role in Surrealist painting. The 20th Century: Indoor and Outdoor Space For Honoré Daumier (1808–1879), who had to spend time in a sanatorium because of the biting nature of his caricatures, the prison became the scene of self-deprecating resistance, whereas Odilon Redon (1840–1960) perceived the isolation from the outside world as a protective space that made free and dreamlike imagining possible in the first place. In Francisco de Goya’s (1746–1828) work, the dungeon appears as a place of solitude and existential threat. Works from the 19th century continued to deal with the subject of imprisonment. The 19th Century: Imprisonment as a Motif Gates and arches, stairways and ladders lead to nowhere or into a wall changing perspectives and proportions are a constant source of irritation interior and exterior spaces can no longer be distinguished from one another. Instead, the images deliver the viewer into a world of in-between spaces. The depictions also open the way for speculation because there is not a single enclosed space among them as might be expected in a prison. The ambiguity of Piranesi’s title – which can be understood as the imprisonment of the imagination, but also as the imagined prison – invites all sorts of interpretations. This year’s collection presentation focuses on Giovanni Battista Piranesi’s (1720–1778) famous series of 16 etchings Carceri d’invezione (Prisons of the Imagination) from 1761. ![]()
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