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 oil painting


Diana Cupid
1761, oil on canvas, Metropolitan Museum of Art, New York
Painting ID::  18866 		BATONI, Pompeo
Diana Cupid
1761, oil on canvas, Metropolitan Museum of Art, New York
   
   
     
BATONI, Pompeo Portrait of Charles Crowle oil painting


Portrait of Charles Crowle
1761-62 Oil on canvas, 248 x 172 cm Mus??e du Louvre, Paris
Painting ID::  4980 		BATONI, Pompeo
Portrait of Charles Crowle
1761-62 Oil on canvas, 248 x 172 cm Mus??e du Louvre, Paris
   
   
     
BATONI, Pompeo The Ecstasy of St Catherine of Siena oil painting


The Ecstasy of St Catherine of Siena
1743 Oil on canvas Museo di Villa Guinigi, Lucca
Painting ID::  4981 		BATONI, Pompeo
The Ecstasy of St Catherine of Siena
1743 Oil on canvas Museo di Villa Guinigi, Lucca
   
   
     
BATONI, Pompeo Madonna and Child ewgdf oil painting


Madonna and Child ewgdf
c. 1742 Oil on canvas Galleria Borghese, Rome
Painting ID::  4982 		BATONI, Pompeo
Madonna and Child ewgdf
c. 1742 Oil on canvas Galleria Borghese, Rome
   
   
     
BATONI, Pompeo Sir Gregory Page-Turner dfhf oil painting


Sir Gregory Page-Turner dfhf
1768 Oil on canvas, 135 x 99 cm Private collection
Painting ID::  4983 		BATONI, Pompeo
Sir Gregory Page-Turner dfhf
1768 Oil on canvas, 135 x 99 cm Private collection
   
   
     
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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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