Each year, millions of tourists flock to art museums hoping to squeeze in some moments of culture in a very limited time frame. Viewing art in the modern context is a sprint; one tries to see as much as they can in only an hour or two. As a result, the pieces on display must vie for attention, even if they were originally commissioned for private consumption. Giovanni Paolo Pannini’s huge 5 ½ by 8 ft. canvas captivates passersby, enticing its viewers to engage with the illusion of space. Located in the Ruth and Carl J. Shapiro Gallery of the Museum of Fine Arts, Boston, is Pannini’s Picture Gallery with Views of Modern Rome. At first glance, the depicted room could be an extension of the gallery, merging reality with fantasy. You cannot miss it. At the very least, amongst a
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It is not a painting to casually walk by in a museum, a Salon, or a duke’s home. The space bleeds into your own, both inviting and intimidating the viewer to engage. Once captured, you cannot help but awe at Pannini’s talent. At a grand scale, Picture Gallery with Views of Modern Rome is a masterpiece. Yet, within this greater piece are references for Pannini’s other works, advertising Pannini’s vaster collection. For example, the Fontana di Trevi, which Pannini painted in 1750 is featured on the left, just above the duke’s head. All Pannini needs is for that viewer to stop, and his talent and legacy can be demonstrated in a single painting. Painting paintings within a painting may seem trivial or ironic, but in a time before personal brands and marketing campaign, Giovanni Paolo Pannini advertises himself in a commissioned
It is not a painting to casually walk by in a museum, a Salon, or a duke’s home. The space bleeds into your own, both inviting and intimidating the viewer to engage. Once captured, you cannot help but awe at Pannini’s talent. At a grand scale, Picture Gallery with Views of Modern Rome is a masterpiece. Yet, within this greater piece are references for Pannini’s other works, advertising Pannini’s vaster collection. For example, the Fontana di Trevi, which Pannini painted in 1750 is featured on the left, just above the duke’s head. All Pannini needs is for that viewer to stop, and his talent and legacy can be demonstrated in a single painting. Painting paintings within a painting may seem trivial or ironic, but in a time before personal brands and marketing campaign, Giovanni Paolo Pannini advertises himself in a commissioned