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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BATONI, Pompeo Sensuality dhg oil painting


Sensuality dhg
1747 Oil on canvas, 138 x 100 cm The Hermitage, St. Petersburg
Painting ID::  4984 		BATONI, Pompeo
Sensuality dhg
1747 Oil on canvas, 138 x 100 cm The Hermitage, St. Petersburg
   
   
     
BATONI, Pompeo Susanna and the Elders gmg oil painting


Susanna and the Elders gmg
Oil on canvas Civici Musei, Pavia
Painting ID::  4985 		BATONI, Pompeo
Susanna and the Elders gmg
Oil on canvas Civici Musei, Pavia
   
   
     
BATONI, Pompeo Achilles at the Court of Lycomedes oil painting


Achilles at the Court of Lycomedes
1745, oil on canvas, Galleria degli Uffizi, Florence
Painting ID::  18865 		BATONI, Pompeo
Achilles at the Court of Lycomedes
1745, oil on canvas, Galleria degli Uffizi, Florence
   
   
     
BATONI, Pompeo Portrait of Princess Giacinta Orsini Buoncampagni Ludovisi oil painting


Portrait of Princess Giacinta Orsini Buoncampagni Ludovisi
c. 1758 Oil on canvas, 137 x 100 cm
Painting ID::  43814 		BATONI, Pompeo
Portrait of Princess Giacinta Orsini Buoncampagni Ludovisi
c. 1758 Oil on canvas, 137 x 100 cm
   
   
     
BATONI, Pompeo Gleichnis vom verlorenen Sohn oil painting


Gleichnis vom verlorenen Sohn
1773 Oil on canvas 138 x 100,5 cm
Painting ID::  71872 		BATONI, Pompeo
Gleichnis vom verlorenen Sohn
1773 Oil on canvas 138 x 100,5 cm
   
   
     
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     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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