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External links
Orazio and Artemisia Gentileschi, a fully digitized exhibition catalog from The Metropolitan Museum of Art Libraries, which contains material on Giovanni Lanfranco (see index)
Lanfranco exhibition in Parma & Rome, with biography and many works
Six works by Lanfranco, including Assumption of the Virgin
Giovanni di Niccolò Mansueti (also known as Giovanni Mansueti; c. 1465 – March 26, 1527) was an Italian painter.
Little is known of his biography. He was active in Venice from 1485 to 1526. A pupil of Gentile Bellini, he worked in the antique style in the Miracles of the Cross painted around 1496-1502 for the Scuola Grande di San Giovanni Evangelista and now in the Gallerie dell'Accademia. In style he resembles Cima da Conegliano and Vittore Carpaccio. One of his paintings resides in a church near Bagni di Lucca, Italy.
Sources
Links to other Mansueti Biographies and images of works at ArtCyclopedia.com
Giovanni Mansueti on Artcyclopedia
Giovanni Maria Viani (1636–1700) was an Italian painter of the Baroque period, active in Bologna.
Biography
Along with Lorenzo Pasinelli, he trained under Flaminio Torre. Among Giovanni's pupils was his son, Domenico (1668–1711), Giovanni Girolamo Bonesi, and Odoardo Perini. Another pupil was Pier Francesco Cavazza. He directed a school at Bologna rivaling that of Carlo Cignani. He painted many pictures for the public buildings of Bologna, among them an Annunciation in San Giuseppe (Sposo) ; and at the Basilica of the Servi, he painted a Glory of St Filippo Benizi and the Coronation of the Virgin.
Among his etchings are:
Christ crowned with Thorns & St Francis with Infant Jesus in his arms after Annibale Carracci
Dido and War after Ludovico Carracci.
References
Rosini, Giovanni (1847). Storia della Pittura Italiana esposta coi Monumenti, (Época Quarta: Dal Carraci al' Appiani); Volume VII. Presso Niccolò Capurro, Pisa; Original from Oxford University digitized Jan 4, 2007. pp. 38–39.
Bryan, Michael (1889). Walter Armstrong; Robert Edmund Graves (eds.). Dictionary of Painters and Engravers, Biographical and Critical. Vol. II L-Z. London: George Bell and Sons. p. 664.
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.
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), 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.
Panini died in Rome on 21 October 1765.
Legacy
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. Some British landscape painters, such as Marlow, Skelton and Wright of Derby, also imitated his capricci.
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, the Louvre, the Museo Nazionale di Capodimonte, the Museo Thyssen-Bornemisza, the Hermitage, the Pushkin Museum, the Staatsgalerie Stuttgart, the Staatliche Museen, the Palazzo del Quirinale, the Toledo Museum of Art, the University of Michigan Museum of Art, the Brooklyn Museum, the Saint Louis Art Museum, the Detroit Institute of Arts, the Museum of Fine Arts Boston, the Getty Center, the Metropolitan Museum of Art, the Nelson-Atkins Museum of Art, the Virginia Museum of Fine Arts, the Walters Art Museum, the Harvard Art Museums, the Philadelphia Museum of Art, and the Indianapolis Museum of Art.
Gallery
History paintings
Capriccios
Veduta (contemporary Rome)
Drawings
References
Further reading
Arisi, Ferdinando (1986). Gian Paolo Panini e i fasti della Roma del '700 [Gian Paolo Panini and events in 18th c. Rome.] (in Italian). U. Bozzi. ISBN 88-7003-016-4.
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
Bryan, Michael (1904). Williamson, George Charles (ed.). Bryan's Dictionary of Painters and Engravers. Vol. IV: N-R (new revised and enlarged ed.). London: George Bell and Sons. p. 62; Entry on Giovanni Paulo Pannini & Giuseppe Pannini{{cite book}}: CS1 maint: postscript (link)
External links
68 artworks by or after Giovanni Paolo Panini at the Art UK site
Media related to Giovanni Paolo Pannini at Wikimedia Commons
Art and the empire city: New York, 1825-1861, an exhibition catalog from The Metropolitan Museum of Art (fully available online as PDF), which contains material on Panini (see index)
Europe in the age of enlightenment and revolution, a catalog from The Metropolitan Museum of Art Libraries (fully available online as PDF), which contains material on Panini (see index)
Capriccio of Roman Ruins with Figures, from the Permanent Collection of the Utah Museum of Fine Arts
Panini at Waddesdon Manor
Girolamo Romani, known as Romanino (c. 1485 – c. 1566), was an Italian High Renaissance painter active in the Veneto and Lombardy, near Brescia. His long career brought forth several different styles.
Biography
Romani was born in Brescia. His early training and life are not well documented.
A Quattrocento-esque Pietà, painted for the church of San Lorenzo of Brescia, dated from 1510, is exhibited in the Accademia. He took up residence in Venice in his twenties, at the latest by 1513. He was commissioned to complete a Madonna enthroned with four saints for the church of Santa Giustina in Padua in 1513. The coloration of the painting is of Venetian style, but the duller visages in bejeweled setting recalls styles of previous generations. He completed series of frescoes for Niccolò Orsini's Palace in Ghedi and an altarpiece for San Francesco, Brescia.
Romanino completed four frescoes in the nave of the cathedral of Cremona in 1519–1520 depicting stories of the Passion of Christ. His paintings have eclectic influences using Venetian coloration with Florentine-Lombard modeling. In the Cremona frescoes, the Lombard influence of Altobello Melone is strong, in the narrative and decorative elements of the fresco. By 1521, Romanino was replaced by Il Pordenone in the decoration of the church.
He then returned to Brescia to work (1521–1524) with Alessandro Bonvicino in the decoration of the "Cappella del Sacramento" in San Giovanni Evangelista.
His St. Matthew and the Angel depicts the apostle at work under candlelight, and represents one of the first such nocturnes in Italian painting, a device which Correggio and Cambiaso would soon pursue. He also helped decorate the Palazzo Averoldi. A series of frescoes in the Castle of Malpaga, near Bergamo (1520-1530s), celebrating the life of Bartolomeo Colleoni, is attributed to him.
In 1531 to 1532, he worked with Dosso Dossi in fresco decoration of Castello del Buoncosiglio in Trento. He completed organ shutters for the church of Asola on Augustus and the sibyl, and Sacrifice of Isaac. Around 1545 he produced The Feast in the House of Simon the Pharisee, still in Brescia. He died between 1559 and 1561. His main pupils were his son-in-law Lattanzio Gambara, Girolamo Muziano, and Stefano Rosa. He is also known to have influenced artists such as Giulio Campi.
Stolen painting
Shortly after the 1940 Nazi invasion of France, Romanino's painting Christ Carrying the Cross was stolen from the household of Frederico Gentili di Giuseppe, an Italian Jew. In 2012, it was discovered among items lent to an American museum from an Italian museum. Through the help of an anonymous tip, Interpol and the United States Department of Homeland Security, it was eventually returned to Gentili's heirs. Presently it is insured for US$2.5 million.
References
Sources
Freedberg, Sydney J. (1993). Pelican History of Art (ed.). Painting in Italy, 1500–1600. pp. 360–367 Penguin Books Ltd.
External links
Painters of reality: the legacy of Leonardo and Caravaggio in Lombardy, an exhibition catalog from The Metropolitan Museum of Art (fully available online as PDF), which contains material on Romani (see index)
Giulio or Giuliano Traballesi or Trabellesi (2 November 1727, Florence – 14 November 1812, Milan) was an Italian designer and engraver.
Biography
He was born in Florence. After training with Agostino Veracini and Francesco Conti in Florence, Trabellesi studied architecture under Antonio Galli-Bibiena. He widened his experience by studying painting based on the works of Antonio da Correggio of Parma and those of painters from Bologna. In 1775, he became professor of painting at the Brera Academy of Milan, where his style reflected the reigning neoclassicism of Mengs. He painted in Milan for the residences of the Busca and Serbelloni. Among his pupils at the academy was Andrea Appiani.
His drawings for the collection of portraits of illustrious Florentines was engraved by Giuseppe Allegrini and others. He made etchings after Italian painters of the School of Bologna, among them:
Last Communion of St Jerome after Agostino Carracci
Saints Alo & Petronius kneeling before Virgin & Conversion of St. Paul after Ludovico Carracci
The Circumcision after Reni
Communion of St. Catharine after Giacomo Cavedone
== References ==
Giulio Benso (30 October 1592 – 1668) was a Genovese painter of the early Baroque. He is known as one of the followers of the style of Luca Cambiasi.
Benso was born in Pieve di Teco. Initially under the patronage of Giovanni Carl Doria, he met Giulio Cesare Procaccini and was encouraged to study in the Genovese Accademia del Nudo. Afterwards, he was apprenticed to Giovanni Battista Paggi. Apart from his work in Liguria, he decorated the Palazzo Grimaldi in Cagnes-sur-Mer with the Fall of Phaeton and sent works to the Abbey of Weingarten in Germany. In the 1640s, he completed his masterpiece, a fresco in the presbytery and apse of the church of the Basilica della Santissima Annunziata del Vastato. There are also paintings of his in his hometown of Pieve di Teco as well as in the parish church of Sant'Ambrogio in Alassio.
Sources