Giovanni Paolo Pannini (or Panini)

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Giovanni Paolo Pannini
Italian, 1691-1765







Giovanni Paolo Panini, La piazza di Montecavallo, particolare




Charles Bourbon bei Papst Benedikt XIV. in einem Kaffeehaus auf dem Quirinal


The Piazza and Church of Santa Maria Maggiore


Interior of the Santa Maria Maggiore in Rome.

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Interior of the San Giovanniin Lateranoi Фотографии интерьера


Departure of Duc de Choiseul from the Piazza di St. Pietro


Pantheon


Piazza Navonain Rome



View of Rome from Mt. Mario, In the Southeast



Interior of Saint Peter's, Rome

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Галлереи


Interior of a Picture Gallery with the Collection of Cardinal Gonzaga


Picture Gallery with Views of Modern Rome


Ancient Rome
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Руины





Capriccio of Classical Ruins


Architectural Capriccio


Ruins of a Temple with an Apostle Preaching




Roman Ruins with Figures


Ruins with Scene of the Apostle Paul Preaching
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Giovanni Paolo Pannini (or Panini), Italian painter. He was the first painter to specialize in ruins, treating them as Roman 'vedute' of a special kind. He was working in Rome by c. 1717, but the earliest surviving dated picture is of 1727 (London, Wellington Museum); in 1729 he was concerned in a Fête given by Cardinal de Polignac in honour of the birth of the Dauphin and this began a long connection with France and the French Academy in Rome. Paintings of the Fête are in the Louvre (1729) and Dublin (1731). His views of modern Rome, as well as his capricci based on the better-known ruins, had an enormous vogue among Grand Tourists and examples are to be found in most older galleries. Piranesi, though far more of an archaeologist, was influenced by him, and so was Canaletto.
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Pannini was born in Piacenza where he studied architectural drawing and the art of painting illusionist architecture. In 1711, he moved to Rome and worked with masters of stage design. He received many commissions to decorate Roman villas and palaces, but became best known for his specialization in "view paintings" (vedute). Pannini's views were painted primarily for foreign patrons who visited Italy as tourists. In particular, French visitors to Rome were especially interested in purchasing Pannini's paintings of the city, its monuments, ceremonies and festivals.

View paintings capture a sense of time and place and preserve memorable experiences. In that sense, they are akin to postcards yet their large scale and elaborate detail testify to their value. Only the wealthiest folk could afford foreign travel and mementos of their trips. Pannini catered to a very elite clientele who prized his powerful ability to capture grand Roman sites. To return home with such a treasure indicated the patron's worldliness and sophistication.