Giovanni Paolo Pannini

1691-1765 Italian Giovanni Paolo Pannini Galleries Italian painter. After gaining fame for his fresco painting, he specialized in Roman topography and became the foremost artist in that field in the 18th century. His real and imaginary views of ancient Roman ruins embody precise observation and tender nostalgia and combine elements of late classical Baroque art with incipient Romanticism. His work was popular both with tourists and his peers: he was admitted to the Acad??mie Française in 1732 and became its professor of perspective.


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Giovanni Paolo Pannini Roman Ruins with Figures oil


Roman Ruins with Figures
Painting ID::  43282
Roman Ruins with Figures
mk170 circa 1730 Oil on canvas 49.5x63.5cm
mk170 circa_1730 Oil_on_canvas 49.5x63.5cm
   
   
     

Giovanni Paolo Pannini Capriccio of Classical Ruins oil


Capriccio of Classical Ruins
Painting ID::  43700
Capriccio of Classical Ruins
1725-30 Oil on canvas, 123 x 132 cm
1725-30_ Oil_on_canvas,_ 123_x_132_cm
   
   
     

Giovanni Paolo Pannini Interior of the Santa Maria Maggiore in Rome oil


Interior of the Santa Maria Maggiore in Rome
Painting ID::  51208
Interior of the Santa Maria Maggiore in Rome
c. 1730 Oil on canvas, 78 x 90 cm
c._1730 Oil_on_canvas, _78_x_90_cm
   
   
     

Giovanni Paolo Pannini Detail of the Annunciation oil


Detail of the Annunciation
Painting ID::  51744
Detail of the Annunciation
nn09 c.1445 Wood 40x46cm
nn09 c.1445 Wood 40x46cm
   
   
     

Giovanni Paolo Pannini St. Peter Basilica, from the entrance oil


St. Peter Basilica, from the entrance
Painting ID::  60008
St. Peter Basilica, from the entrance
St. Peter's Basilica, from the entrance
St._Peter's_Basilica,_from_the_entrance
   
   
     

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     Giovanni Paolo Pannini
     1691-1765 Italian Giovanni Paolo Pannini Galleries Italian painter. After gaining fame for his fresco painting, he specialized in Roman topography and became the foremost artist in that field in the 18th century. His real and imaginary views of ancient Roman ruins embody precise observation and tender nostalgia and combine elements of late classical Baroque art with incipient Romanticism. His work was popular both with tourists and his peers: he was admitted to the Acad??mie Française in 1732 and became its professor of perspective.

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