Giovanni Paolo Panini

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Template:Short description Template:Infobox artist Giovanni Paolo, also known as Gian Paolo Panini or Pannini (17 June 1691 – 21 October 1765), was an Italian Baroque painter and architect who worked in Rome and is primarily known as one of the vedutisti ("view painters"). As a painter, Panini is best known for his vistas of Rome, in which he took a particular interest in the city's antiquities. Among his most famous works are his view of the interior of the Pantheon (on behalf of Francesco Algarotti), and his vedute—paintings of picture galleries containing views of Rome. Most of his works, especially those of ruins, have a fanciful and unreal embellishment characteristic of capriccio themes. In this they resemble the capricci of Marco Ricci. Panini also painted portraits, including one of Pope Benedict XIV.<ref name="OAL" />

Biography

As a young man, Panini trained in his native town of Piacenza, under Giuseppe Natali and Andrea Galluzzi, and with stage designer Francesco Galli-Bibiena. In 1711, he moved to Rome, where he studied drawing with Benedetto Luti.

In 1724 he married Miss Gossert, sister-in-law of Wengkels, director of the French Academy in Rome, with whom he had two sons: Giuseppe Pannini (Rome, 1720-1812),<ref>Template:Cite book</ref><ref name=":02">Template:Cite web</ref><ref>Template:Cite web</ref> the architect, and Francesco Panini (Rome, 1745 - 1812), the painter, who followed in his father's footsteps and manners.

In Rome, Panini earned a name for himself as a decorator of palaces. Some of his works included the Villa Patrizi (1719–1725), the Palazzo de Carolis (1720), and the Seminario Romano (1721–1722). In 1719, Panini was admitted to the Congregazione dei Virtuosi al Pantheon. He taught in Rome at the Accademia di San Luca and the Académie de France, where he is said to have influenced Jean-Honoré Fragonard. In 1754, he served as the prince (director) of the Accademia di San Luca.

The Spanish monarchs appreciated his work in such a way that, commissioned by Filippo Juvarra, he sent paintings to decorate the Lacquer Room of the Royal Palace of La Granja de San Ildefonso. In addition, King Carlos IV, when he was Prince, bought several of his works that are still preserved in the Prado Museum and in the royal palaces.<ref name=":0">Template:Cite web</ref>

Panini died in Rome on 21 October 1765.<ref name="OAL">Anna Maria Ferrari. "Panini, Giovanni Paolo." Grove Art Online. Oxford Art Online. 27 March 2010.</ref>

Legacy

File:Bundesarchiv Bild 101I-729-0001-23, Italien, Überführung von Kunstschätzen.jpg
German soldiers in 1944 posing with a Pannini picture – Carlo III di Borbone che visita il papa Benedetto XIV nella coffee-house del Quirinale a Roma – at the time looted from the Naples Museum

Panini's studio included Hubert Robert and his son Francesco Panini. His style influenced other vedutisti, such as his pupils Antonio Joli and Charles-Louis Clérisseau, as well as Canaletto and Bernardo Bellotto, who sought to meet the need of visitors for painted "postcards" depicting the Italian environs.Template:Citation needed Some British landscape painters, such as Marlow, Skelton and Wright of Derby, also imitated his capricci.Template:Citation needed

In addition to being a painter and architect, Panini was a professor of perspective and optics at the French Academy of Rome. His masterful use of perspective was later the inspiration for the creation of the "Panini Projection", which is instrumental in rendering panoramic views. [1][2]

Panini's works are held in the permanent collections of many museums worldwide, including the Prado Museum,<ref name=":0" /> the Louvre,<ref>Template:Cite web</ref> the Museo Nazionale di Capodimonte,<ref name=":1">Template:Cite web</ref> the Museo Thyssen-Bornemisza,<ref name=":1" /> the Hermitage,<ref name=":1" /> the Pushkin Museum,<ref name=":1" /> the Staatsgalerie Stuttgart,<ref name=":1" /> the Staatliche Museen,<ref name=":1" /> the Palazzo del Quirinale,<ref name=":1" /> the Toledo Museum of Art,<ref>Template:Cite web</ref> the University of Michigan Museum of Art,<ref>Template:Cite web</ref> the Brooklyn Museum,<ref>Template:Cite web</ref> the Saint Louis Art Museum,<ref>Template:Cite web</ref> the Detroit Institute of Arts,<ref>Template:Cite web</ref> the Museum of Fine Arts Boston,<ref>Template:Cite web</ref> the Getty Center,<ref>Template:Cite web</ref> the Metropolitan Museum of Art,<ref>Template:Cite web</ref> the Nelson-Atkins Museum of Art,<ref>Template:Cite web</ref> the Virginia Museum of Fine Arts,<ref>Template:Cite web</ref> the Walters Art Museum,<ref>Template:Cite web</ref> the Harvard Art Museums,<ref>Template:Cite web</ref> the Philadelphia Museum of Art,<ref>Template:Cite web</ref> and the Indianapolis Museum of Art.<ref>Template:Cite web</ref>

History paintings

Capriccios

Veduta (contemporary Rome)

Drawings

References

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Further reading

  • Template:Cite book
  • Arisi, Ferdinando,Giovanni Paolo Panini 1691-1765, Milano, 1993.
  • Horak, Marco, Ritornato a Piacenza il dipinto di Panini passato all'asta lo scorso anno a Londra: si tratta dell' "opera prima", pendant di quello esposto alla Glauco Lombardi di Parma, in "Strenna Piacentina 2013", Piacenza, 2013.
  • Horak, Marco, Quell'opera prima di Panini gemella del dipinto esposto al Lombardi di Parma, in "L'Urtiga - Quaderni di cultura Piacentina", Piacenza, n. 4, 2013.
  • Horak, Marco, L'opera prima del Panini in una collezione privata, in "Panorama Musei", anno XVIII, n.3, dicembre 2013
  • Horak, Marco, G.P. Panini al Fine Art Museum di San Francisco, in "Panorama Musei", anno XXI, n. 2, settembre 2016
  • Horak, Marco, Giovanni Ghisolfi tra Salvator Rosa e Giovanni Paolo Panini, Piacenza, 2020
  • Template:Cite book

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