early work consists primarily of rustic interiors based on
the art of his brother, his later easel paintings and water-
colors of outdoor scenes reflect his own creative ideas
more clearly. Van Ostade's finest works include winter
pieces and outdoor scenes that combine landscape and
peasant genre elements, particularly conversations in
front of a house or roadside inn, as can be seen in Rest by
a Cottage (1648; Haarlem, Frans Halsmuseum).
GIOVANNI PAOLO PANINI
Piacenza I09i-Rome 1765
Giovanni Paolo Panini began his career in Piacenza paint-
ing architecture, ruins, and views under the tutelage of
Ferdinando Bibiena, Giuseppe Natali, and Andrea Gal-
luzi. In 1711 he moved to Rome, became a pupil of Be-
nedetto Luti, and expanded his repertoire to include his-
torical subjects. His picturesque frescoes of the Roman
countryside (1721-1722) in the Palazzo Quirinale and the
painted trompe l'oeil decorations (1725-1726) in the Pal-
azzo del Senato brought him immediate fame. Panini
specialized in vedute, real or imaginary topographical
views of Rome's ancient and modern monuments. His
major works in this genre include the Interior of the Pan-
theon (1740; Washington, D.C., National Gallery of Art)
and View of the Roman Forum (1740; Paris, Louvre). He
designed festival projects and produced paintings to
commemorate special events in the city's history, such as
Charles III Visiting the Basilica of Saint Peter's (1746; Na-
ples, Museo e Gallerie Nazionali di Capodimonte). His
works were much admired by artists such as Piranesi,
Robert, and Fragonard.
PARMIGIANINO (FrancescoMazzola)
Parma 1503-Casalmaggiore 1540
Parmigianino worked as a painter, draughtsman, and
etcher. His uncles Pier Ilario and Michèle Mazzola pro-
vided his early training, but the example of Correggio
was the major stimulus to his early development. Be-
tween 1522 and 1524, Parmigianino worked on the dec-
orations for several chapels in San Giovanni Evangelista
in Parma. In 1524 he traveled to Rome, carrying with
him the unique, undated Self-Portrait in a Convex Mirror
(Vienna, Kunsthistorisches Museum), which he pre-
sented to an appreciative Pope Clement VII, thereby se-
curing work in the papal court. In Rome the influence of
Raphael and of antique sculpture reinforced Parmigiani-
no's attention to plastic values and refined elegance, as can
be seen in the Vision of Saint Jerome (1527; London, Na-
tional Gallery). In 1527 he moved to Bologna, where his
major works included the undated Madonna of Saint
Zachary (Florence, Uffizi) and the Madonna of Saint Mar-
garet (1528-1529; Bologna, Pinacoteca). Among the art-
ist's last great works are the Madonna of the Long Neck
(commissioned 1534; Florence, Uffizi) and the unfin-
ished fresco decorations (1530-1539) for Santa Maria
della Steccata in Parma.GEORG PENCZ
Breslau(?) (Wroclaw[?j) circa i5OO-Leipzig 1550
Pencz was active in Durer's workshop as early as 1521,
becoming a citizen of Nuremberg in 1523. In January
1525 he and the artists Barthel and Sebald Beham were
briefly expelled from the city for atheism. Little is known
of Pencz's artistic activities in the 15205. It has been pro-
posed that he was identical with the Master I. B., a Nu-
remberg printmaker active during this decade, but this is
doubtful. Pencz is recorded in Nuremberg in 1530 and
was made the official city painter in 1532. In 1534 he ex-
ecuted an illusionistic ceiling painting there, The Fall of
Phaeton (Stadtmuseum Fembohaus), which indicates
that he had studied Giulio Romano's frescoes in the Palaz-
zo del Te, Mantua, probably on a trip to northern Italy
around 1529. Pencz's prints and drawings of the early
15305 reflect the influence of the Italian engraver Mar-
cantonio Raimondi. About 1539/40 he returned to Italy,
this time visiting Rome, where he made drawings after
Michelangelo's frescoes The Deluge and The Last Judg-
ment in the Sistine Chapel. Pencz returned to Nuremberg
in 1540. His reputation as a portraitist led to his appoint-
ment as court painter to Albert, duke of Prussia, in 1550.
However, he died in Leipzig the same year en route to his
new post.LUCA PENNI
Florence circa 1500/04-Paris J 556
Luca Penni came from a family of Florentine weavers.
His early style had strong affinities with Raphael and his
followers in Rome. In the late 15205 Penni worked with
his brother-in-law, Perino del Vaga, in Genoa and Lucca.
He traveled to France in 1530 and from 1537 to 1540 col-
laborated with Rosso Fiorentino and Francesco Prima-
ticcio at the court of Fontainebleau, where his work in-
cluded the gallery of François I. Penni also worked
outside the court as a painter, draughtsman, and designer
of tapestries. His works include a drawing of battling
nudes (Paris, Louvre) and designs depicting stories of the
goddess Diana. Penni settled in Paris in 1550, and from
1553 until his death worked principally as a designer of
engravings by Jean Mignon, René Boyvin, and others.
Their prints, based on Penni's designs, enjoyed wide cir-
culation throughout Europe.ARTISTS' BIOGRAPHIES 347