Italian Rococo era painter, master of landscapes-are. Born in Piacenza, about 1692. In the middle of the 10-ies of the 18th century, Panini moved to Rome, where the ancient ruins inspired him to create historical compositions, scenes of contemporary life and imaginary types of real buildings located in different parts of the city, but assembled together.
Known for its frescos in the Villa of Patrice (completed in 1725) and decorations for a celebration in honor of the birth of the Dauphin (1729, Louvre, Paris; 1731, Dublin). Marriage to the sister of the French artist Flagella, patronage of cardinal de Polignac and the connection with the French Academy in Paris, of which he was elected in 1723, and bound him with French artistic circles.
In 1755 he was elected President of the Academy of St Luke in Rome.
The Italian artist. In the years of training in the circle Bibiani Pannini acquired a taste for scenography, which is maintained throughout his artistic career in Rome where the artist lived from 1715. Here he studied with B. Luga, classicism in which the spirit of Maratta had on him a certain influence, evident in the paintings on religious subjects, executed in that time and are now in the Louvre, Palo and the Museum of fine arts in Budapest. The early Roman works include murals in the Villa of Patrizi (1719−1725), as well as various palazzos, such as Palazzo Quirinale and Palazzo alberoni. But worldwide fame pretty soon, Pannini brought his types of Roman monuments and Roman life. Perhaps for this reason it is often referred to the Roman vedutista the XVIII century, although in fact the artist goes beyond this genre, already determined by that time. This is due, on the one hand, the fact that the artist strived for greater freedom of vision that was characteristic of vedutismo the XVII century, and on the other hand, the fact that it <проторомантические> experiments later lead to the art of Piranesi. Inherited from Codazzi typology differing in all its external realism compositional randomness, the introduction of ancient ruins, lively number rocaille Curling of fine characters, Pannini, however, were less sensitive to the lessons of the landscape, such as Blumenau and Locatelli, and analytical clarity <ведут> gives appeal to the artist and to experiences of Vanvitelli (<Замок Сант-Анджело>, 1744, Potsdam, Sanssouci Palace). Imaginary or copied from nature, his compositions, sometimes very impressive, represent <кусочки жизни>placed in the surroundings of ancient ruins and modern monuments of Rome (<Площадь Санта-Мария Маджоре>, 1742, Rome, Palazzo Quirinale). Works of Pannini is one of the most magnificent testimonies of the XVIII century, Gifted with the extraordinary talents of set designer, Pannini in his works gave great importance to the interpretation of space; his compositions almost always differ by the extraordinary spatial breadth and scope. Comparing a Grand space with a detailed description of the characters that populate his scenes, the artist achieves a very spectacular contrasts, especially in the depiction of various ceremonies (<Посещение Карлом III собора св. Петра>, 1745, Naples, Capodimonte; <Посещение Карлом III Квиринальского дворца>, 1746, ibid.), holidays (<Праздник на Пьяцца Навона>, 1729, Paris, Louvre) or dramatic scenes (<Концерт в честь свадьбы дофина>, 1747, Paris, Louvre). Finally, he created the types of museums — real (<Галерея кардинала Валенти Гонзага>Hartford, Wadsworth Atheneum) or imaginary (<Античный Рим> and <Современный Рим>, Paris, Louvre), where accurate reproduction of various styles combined with a broad interpretation of space. Creativity Pannini, very rich (his paintings are in many European and American museums), is widespread, especially in France, a country with whom the artist was closely linked thanks to the patronage of cardinal de Polignac, and marrying the sister Nicola Fleygelsa, at that time Director of the French Academy in Rome. The greatest successor of art Pannini, who inherited his taste for ancient ruins and was also the Frenchman Hubert Robert.