Las óleos de todo BATONI, Pompeo
ID Image  Painting (From A to Z)       Details 
18865  
BATONI, Pompeo, Achilles at the Court of Lycomedes
  		 Achilles at the Court of Lycomedes   1745, oil on canvas, Galleria degli Uffizi, Florence
18866  
BATONI, Pompeo, Diana Cupid
  		 Diana Cupid   1761, oil on canvas, Metropolitan Museum of Art, New York
71872  
BATONI, Pompeo, Gleichnis vom verlorenen Sohn
  		 Gleichnis vom verlorenen Sohn   1773 Oil on canvas 138 x 100,5 cm
4982  
BATONI, Pompeo, Madonna and Child ewgdf
  		 Madonna and Child ewgdf   c. 1742 Oil on canvas Galleria Borghese, Rome
4980  
BATONI, Pompeo, Portrait of Charles Crowle
  		 Portrait of Charles Crowle   1761-62 Oil on canvas, 248 x 172 cm Mus??e du Louvre, Paris
43814  
BATONI, Pompeo, Portrait of Princess Giacinta Orsini Buoncampagni Ludovisi
  		 Portrait of Princess Giacinta Orsini Buoncampagni Ludovisi   c. 1758 Oil on canvas, 137 x 100 cm
4984  
BATONI, Pompeo, Sensuality dhg
  		 Sensuality dhg   1747 Oil on canvas, 138 x 100 cm The Hermitage, St. Petersburg
4983  
BATONI, Pompeo, Sir Gregory Page-Turner dfhf
  		 Sir Gregory Page-Turner dfhf   1768 Oil on canvas, 135 x 99 cm Private collection
4985  
BATONI, Pompeo, Susanna and the Elders gmg
  		 Susanna and the Elders gmg   Oil on canvas Civici Musei, Pavia
4981  
BATONI, Pompeo, The Ecstasy of St Catherine of Siena
  		 The Ecstasy of St Catherine of Siena   1743 Oil on canvas Museo di Villa Guinigi, Lucca
BATONI, Pompeo
Italian Rococo Era Painter, 1708-1787 He was born in Lucca, the son of a goldsmith, Paolino Batoni. He moved to Rome in 1727, and apprenticed with Agostino Masucci, Sebastiano Conca and/or Francesco Imperiale (1679-1740). By the early 1740s, however, he started to receive independent commissions. In 1741, he was inducted into the Accademia di San Luca. His celebrated painting, The Ecstasy of Saint Catherine of Siena (1743) illustrates his academic refinement of the late-Baroque style. Another masterpiece, his Fall of Simon Magus was painted initially for the St Peter's Basilica. Batoni became a highly-fashionable painter in Rome, particularly after his rival, the proto-neoclassicist Anton Raphael Mengs, departed for Spain in 1761. Batoni befriended Winckelmann and, like him, aimed in his painting to the restrained classicism of painters from earlier centuries, such as Raphael and Poussin, rather than to the work of the Venetian artists then in vogue. He was greatly in demand for portraits, particularly by the British traveling through Rome , who took pleasure in commissioning standing portraits set in the milieu of antiquities, ruins, and works of art. There are records of over 200 portraits by Batoni of visiting British patrons . Such "Grand Tour" portraits by Batoni came to proliferate in the British private collections, thus ensuring the genre's popularity in the United Kingdom, where Sir Joshua Reynolds would become its leading practitioner. In 1760, the painter Benjamin West, while visiting Rome would complain that Italian artists "talked of nothing, looked at nothing but the works of Pompeo Batoni". In 1769, the double portrait of Joseph II and Leopold II won an Austrian nobility for Batoni. He also portrayed Pope Pius VI. According to a rumor, he bequeathed his palette and brushes to Jacques-Louis David.



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