Similar
Ruins of the Colosseum, Rome, seen from within
Derde gezicht op de Thermen van Diocletianus
Gezicht op de Palatijn met het Septizonium
George Washington Lambert - Destruição de Arrás 1916
Woning bij een ruïne - Architectural drawing, public domain image
Moreau - Le Golgotha, Cat. 108
Hieronymus Cock - The Basilica of Constantine
Willem van Nieuwlandt II, The Baths of Caracalla, Rome, NGA 73541
Moses ter Borch - Paadje door het Colosseum, Rome
Related
Ruïnes van de grote zaal van de Thermen van Caracalla, Rome
Ruïnes van de grote zaal van de Thermen van Caracalla, Rome
Ruïnes van de grote zaal van de Thermen van Caracalla, Rome
Ruïnes van de grote zaal van de Thermen van Caracalla, Rome
Ruïnes van de grote zaal van de Thermen van Caracalla, Rome
Ruïnes van de grote zaal van de Thermen van Caracalla, Rome
Ruïnes van de grote zaal van de Thermen van Caracalla, Rome
Ruïnes van de grote zaal van de Thermen van Caracalla, Rome
Ruïnes van de grote zaal van de Thermen van Caracalla, Rome
Ruïnes van de grote zaal van de Thermen van Caracalla, Rome
Summary
Public domain image of a romantic ruins landscape, classical architecture, free to use, no copyright restrictions - Picryl description
Renaissance representation of classical ruins was a symbol of antiquity, enlightenment, and lost knowledge. Ruins spoke to the passage of time. The greatest subject for ruin artists was the overgrown and crumbling Classical Rome remains. Forum and the Colosseum, Pantheon, and the Appian Way. Initially, art representations of Rome were realistic, but soon the imagination of artists took flight. Roman ruins were scattered around the city, but frustrated artists began placing them in more pleasing arrangements. Capriccio was a style of imaginary scenes of buildings and ruins.
Printmaking in woodcut and engraving came to Northern Italy within a few decades of their invention north of the Alps. Engraving probably came first to Florence in the 1440s, the goldsmith Maso Finiguerra (1426–64) used the technique. Italian engraving caught the very early Renaissance, 1460–1490. Print copying was a widely accepted practice, as well as copying of paintings viewed as images in their own right.