Giovanni Paolo Panini

A Panini with a Haddo provenance that comes up at Christie’s, New York,  in May prompts some reflections on the elusive patronage of George Gordon, Lord Haddo, who died in 1791 in a fall from a horse. He is generally agreed to be the subject of a portrait by Pompeo Batoni at Haddo House, and it is assumed that he is the member of his family who acquired two Paninis, the one at Christie’s and another now in the Liechtenstein collection in Vienna.

8. Marshall, David R., ‘Running from Water: ‘Giochi d’Acqua and the Sense of Touch’, in the conference proceedings, Barbara Arciszewska (ed.),  The Early Modern Villa: Senses and Perceptions versus Materiality’ held on 15-17 October 2014, Warsaw, Wilanów Palace Museum, Warsaw, 2017, pp. 131–142.

Nell'imponente quantità delle committenze del principe di Gravina, Domenico Orsini (1719-1789) che continuò i fasti della sua nobile casata nel secolo dei lumi, ho scelto due casi particolarmente emblematici sia per il livello di qualità delle opere sia per l'importanza degli ar-tisti che le eseguirono. La ricca documentazione inedita dell' Archivio Orsini, custodito nell' Archivio Capitolino di Roma ha permesso, nel caso di Giovanni Paolo Panini, di riattribuire, di datare con certezza e di legare alla committenza del porporato opere ben note alla critica, nel caso di Luigi Valadier, di collocare cronologicamente e di conoscere l' originaria destinazione del servizio liturgico di Muro Lucano, uno dei vertici della produzione dell' argentiere.

This paper points out that the original woodblock print of Utagawa Toyoharu's (1735-1814) "Dutch Franciscan Monastery" is based on William Austin's (1721–1820)"Ruins of Ancient Rome" (1756). It is possible that Austin's works was created by combining paintings by the Italian artist Giovanni Paolo Panini (1691-1765) and sold as his works.
　本稿は、歌川豊春(1735-1814)の木版画《阿蘭陀(オランダ)フランスカノ伽藍之図(がらんのず)》の原画は、ウィリアム・オースティン(1721–1820)の《古代ローマの遺跡》(Ruins of Ancient Rome, 1756)の銅版画であることを指摘する。このオースティンの作品はイタリアの画家パニーニ(Giovanni Paolo Panini 1691–1765)の絵画作品を組み合わせて制作し、彼の作品として販売した可能性がある。

This case study focuses on a series of paintings in the collection of the Zamoyski Museum in Poland: The Meeting of Eliezer and Rebecca at the Well and its pendant Preaching of an Apostle; and Capriccio with Shepherd and its pendant The Finding of Moses. These were believed to have been made in the 17th–18th centuries and were attributed to Italian artists such as Giovanni Paolo Panini. This paper re-examines these attributions and provenances.
The paper discusses various ways of collecting information on a painting’s history: analytical methods to obtain insight into the technique and technology of the painting, surveys on the painting’s condition and secondary marks such as wax seals, investigation of historic documents, and examination of stylistic features.
It is emphasised that a painting does not hold only aesthetic value. Its history adds to its value, enriching and converting it into an important source of past information.
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In summary, various approaches to investigating the paintings, including analytical methods, attribution and provenance research, surveys of historical documents and red seals, all overseen by a conservator, led to a new attribution proposal, locating them in the beginning of the 18th century and shedding new light on the Zamoyski collection.
The set of paintings from the Zamoyski Museum can be linked to the Roman workshops or circles of Alberto Carlieri. This investigation emphasised that the paintings no longer hold only aesthetic value.
The history they have been part of has added to their value, enriching and converting them into an important source of information about the past.
The survey concluded that the lack of scholarly attention to the capriccio genre has created a gap that needs to be investigated. The absence of signatures as well as the existence of workshops and followers of capriccio painters hindered attempts to attribute the paintings. A wider research scope that combines different fields and emphasises conservation and art history is needed. Hopefully the publication of this study will ‘introduce new variables in the equation’ in the form of Kozłówka’s set of paintings available for comparison to wider audience. After all, ‘deep is the well of the past. Should we not call it bottomless?'
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Open-acces at https://icarthejournal.asp.waw.pl/

La macchina di Monsignor de Canillac per la festa in onore del matrimonio del Delfino di Francia con l'Infanta di Spagna celebrata in Piazza Farnese nel 1745 Il quadro incompiuto di Giovanni Paolo Panini Festa in Piazza Farnese in onore del matrimonio del Delfino di Francia con l'infanta di Spagna fu eseguito per il committente della festa, Monsignor de Canillac nel 1745. Esso raffigura la macchina come costruita, divergente in più punti da quella raffigurata nella stampa eseguita dal pensionnaire dell'Académie de France Louis-Joseph Le Lorrain prima che essa fosse effettivamente costruita nel giugno di quell'anno. Poiché l'evento fu ritardato tanto da impedire la realizzazione del previsto progetto per la prima macchina della festa della Chinea, da innalzarsi per il principe Colonna nella stessa piazza, se ne produsse un altro che riutilizzò l'armatura della macchina di Canillac. Un espediente contingente che a partire dal 1751 divenne una consuetudine per le seconde macchine della Chinea presentate nella seconda giornata della festa, laddove precedentemente esse erano per lo più costituite da tele dipinte. Sia il direttore dell'Académie de France a Roma, Jean-François de Troy, sia il pittore e collega di Panini, Giuseppe Ghezzi, si dimostrarono critici nei confronti della macchina di Canillac e di Panini, che ne era in parte l'autore, sebbene suo figlio Giuseppe ne risultasse l'architetto responsabile. Un dissenso riferibile tanto al mutevole rapporto di Panini con l'Académie de France quanto a differenti concezioni sulla progettazione di architetture effimere, consistenti essenzialmente nel fatto che Panini concepiva i progetti per le feste come pittorici e non architettonici, mentre i pensionnaires francesi li vedevano come opportunità per sperimentare progetti architettonici miranti al rinnovamento dell'architettura nazionale.

Inscrite dans le prolongement du grand projet régional Heures italiennes qui marqua l’année 2017 dans les Hauts-de-France, l’exposition Inventions italiennes est construite sur le thème des arts graphiques italiens, de la fin du Moyen Âge au néoclassicisme. Elle met en lumière la richesse d’un fonds peu connu d’une part, celui du Musée de Picardie, avec des feuilles et des estampes des plus grands noms de la péninsule (Tiepolo, Pannini, Piranèse, entre autres), et la qualité d’une des plus belles collections patrimoniales de France de l’autre, celle de la Bibliothèque Louis-Aragon, forte de livres enluminés et d’ouvrages imprimés rehaussés de gravures. Associés pour la toute première fois, le musée et la bibliothèque patrimoniale d’Amiens révèlent pour l’occasion nombre de trésors inédits.

The identification of an apartment in palazzo Ossoli near the piazza di Campo de fiori in Rome where in the XVIII century lived the painter Giovan Paolo Panini and his family; the painter Sebastiano Conca with his pupil Giovanni Pandozzi of Leonola and again the painter Gaetano Sortini and his family.

There are works attributed to G. P. Panini derived from Piranesi's The Campidoglio from the side, which prompts an investigation of how Panini in fact represented the Campidoglio compared to Piranesi. It looks at the sightlines they employed. Whereas Piranesi privileged the Trofei di Mario,  Panini wrestled with the relationship between the statues of Castor and Pollux and the buildings behind depending on the purpose of the image.

Gogol lived in Rome intermittently between 1837 and 1847 and there he penned some of his most important works. As he claimed himself, Rome provided him with the necessary distance to see Russia and write about it. But despite his long sojourn in Italy, he did not produce a significant text on an Italian theme or a travel narrative. The narrative fragment “Rome” (1842) is the only literary record of Gogol's residence in Italy. In this article I approach “Rome” as a travel narrative which follows the intellectual and aesthetic education of a Roman prince over the course of two journeys – first, from Rome to Paris, and then back, from Paris to Rome. I argue that structurally, the fragment is organized by physical movement through European and Roman space and rhetorically, the text adopts the literary and visual tropes of the eighteenth-century Grand Tour to Italy. I read “Rome” as Gogol's attempt to mobilize his reliance on distance in the services of a Grand Tour narrative and thus inscribe himself within a Western European tradition of travel writing and literary sightseeing. But the Gogolian Grand Tour arrives with a twist: Gogol reverses the traditional itinerary Paris – Rome, and posits Rome as both originating point and final destination, with Paris merely as a detour – and as I suggest, as a foil to Rome. Just like Rome works as a foil to Russia, Paris becomes Gogol’s optical device through which to descry his beloved Rome. To approach “Rome” through the framework of the Grand Tour is to propose a new understanding of the text as the Italian travel narrative Gogol otherwise did not produce.