The Artist and His Patrons

Panini established strong connections with important members of the French aristocracy that resulted in many large-scale commissions. These relationships were established early on in his life, with his marriage to the sister-in-law of the director of the French Academy and his going on to teach perspective at the Academy in 1732.^[1] The relationships Panini fostered with his patrons present a more traditional style of patronage in comparison to an artist such as Piranesi, who was dealing in compositions of smaller dimensions, and in print, a medium that is capable of mass distribution. This difference in the type of patron is reflected in the works of the two artists. Though both artists distributed their works to a wealthy clientele, Piranesi tended to depict peasants and members of the lower class, conceivably as a more faithful rendering of the place, but also because he was not necessarily creating a work for an individual patron. Panini’s work by contrast was rooted in the relationship between the noble patron and painter. Modern Rome is the premiere example; the Duc de Choiseul as the patron of the work chose to place himself in the painting surrounded by the most acclaimed Italian monuments and works of art. While such a painting would have served as a a status symbol for the Duke, it also served Panini’s interests as a form of artistic self-promotion, documenting a bond between Panini and his patron.