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Fantasy view with the Pantheon and other monuments of Ancient Rome, 1737, by Giovanni Paolo Panini. In painting, a capriccio (Italian pronunciation: [kaˈprittʃo], plural: capricci [kaˈprittʃi]; in older English works often anglicized as "caprice") is an architectural fantasy, placing together buildings, archaeological ruins and other architectural elements in fictional and often ...
Leonardo Coccorante was born in Naples, Italy.He studied or worked under Nicola Casissa, [1] the Flemish landscape painter Jan Frans van Bloemen (1662–1749), Angelo Maria Costa (1670–1721), and finally with Gabriele Ricciardelli (active between 1741 and 1777).
For commercial reasons, Francesco copied some of his father's sought-after paintings. Capriccio with Roman Ruins and Figures, c. 1740–1760, Giovanni Paolo Panini (Coll. Denver Art Museum) Architectural Capriccio with Figures (late 18th-C) by Francesco Panini View of the interior of St Peter's Basilica in the Vatican (c. 1770) by Francesco ...
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").
Artists whose body of work is paintings of ancient ruins. In Italy, many painters of vedute painted ruins or capricci or imaginary architecture often of Roman ruins.
Panini was a famed painter of capriccios, architectural fantasies.In this case, he combined a staggering array of monuments by Romans without regard to topography. From left to right, he included the Temple of Hadrian, the Pantheon, the Temple of Vesta, the Maison Carrée, and the Theater of Marcellus, all of them surrounding the Obelisk of Thutmose III.
The paintings were made using oil on canvas. The subjects are ancient Roman ruins in Provence in southern France. The structures depicted are the interior of the Temple of Diana in Nîmes, the Triumphal Arch and Roman Theatre in Orange (combined in an imaginary perspective), the Maison Carrée, amphitheater and Tour Magne in Nîmes (also from an imaginary perspective), and the Pont du Gard ...
There he must have learned the use of bright colours and the placing of his scenes among bold Renaissance architecture and landscapes rich in Roman ruins and "antiques". Also on the technical plan the use of hatching with a very lean tempera layer under a detailed design made by brush was probably learned from Pinturicchio.