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Oil Paintings
Come From United Kingdom
An option that you can own an 100% hand-painted oil painting from our talent artists. |
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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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BATONI, Pompeo
Diana Cupid
1761, oil on canvas, Metropolitan Museum of Art, New York
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BATONI, Pompeo
Portrait of Charles Crowle
1761-62
Oil on canvas, 248 x 172 cm
Mus??e du Louvre, Paris
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BATONI, Pompeo
The Ecstasy of St Catherine of Siena
1743
Oil on canvas
Museo di Villa Guinigi, Lucca
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BATONI, Pompeo
Madonna and Child ewgdf
c. 1742
Oil on canvas
Galleria Borghese, Rome
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BATONI, Pompeo
Sir Gregory Page-Turner dfhf
1768
Oil on canvas, 135 x 99 cm
Private collection
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BATONI, Pompeo
Sensuality dhg
1747
Oil on canvas, 138 x 100 cm
The Hermitage, St. Petersburg
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BATONI, Pompeo
Susanna and the Elders gmg
Oil on canvas
Civici Musei, Pavia
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BATONI, Pompeo
Achilles at the Court of Lycomedes
1745, oil on canvas, Galleria degli Uffizi, Florence
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BATONI, Pompeo
Portrait of Princess Giacinta Orsini Buoncampagni Ludovisi
c. 1758
Oil on canvas,
137 x 100 cm
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BATONI, Pompeo
Gleichnis vom verlorenen Sohn
1773
Oil on canvas
138 x 100,5 cm
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| BATONI, Pompeo
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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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