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From about 1740 Batoni established himself as the principal portraitist in Rome of visitors from abroad, especially English aristocrats on the Grand Tour. Batoni's grand decorative schemes and altarpieces show the influence both of the antique and of Raphael, whose work he often copied.
Oct 24, 2019 · In 1760 the painter Benjamin West visited Rome only to complain that Italian artists 'talked of nothing, looked at nothing but the works of Pompeo Batoni'. It wasn't only the Italians who celebrated the painter and draughtsman Pompeo Batoni (1708–1787). An acclaimed painter of altarpieces, religious and classical subjects, Batoni eventually ...
'Pompeo Batoni was known for his portraits of wealthy Grand Tourists during their stay in Rome. He frequently depicted them in the presence of antiquities in order to amplify their image as...
Pompeo Batoni 1708 - 1787. Summary. Shortly before this portrait was painted in Rome, Gregory Page-Turner succeeded to his father's title, and inherited the fortune and estates of his great uncle.
Pompeo Girolamo Batoni; Time Unveiling Truth, 1740–45 Pompeo Girolamo Batoni; Don José Moñino y Redondo, Conde de Floridablanca, c. 1776 Pompeo Girolamo Batoni; Saint Andrew, 1740–43 Pompeo Girolamo Batoni; Study for Saint Bartholomew and Drapery, c. 1740 Pompeo Girolamo Batoni; Triumph of Love (after antique bas-relief), n.d. Pompeo ...
By around the mid-century Batoni had become one of the most highly sought-after painters in Rome, receiving numerous commissions for religious and mythological compositions.
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Pompeo Batoni lived in the XVIII cent., a remarkable figure of Italian Rococo and Neoclassicism. Find more works of this artist at Wikiart.org – best visual art database.
