Alma Tadema
Alma Tadema's Oil Paintings
Alma Tadema Museum
8 January 1836 – 25 June 1912. Most renowned painters.

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Here are all the paintings of BATONI, Pompeo 01

ID Painting  Oil Pantings, Sorted from A to Z     Painting Description
18865 Achilles at the Court of Lycomedes BATONI, Pompeo Achilles at the Court of Lycomedes 1745, oil on canvas, Galleria degli Uffizi, Florence
18866 Diana Cupid BATONI, Pompeo Diana Cupid 1761, oil on canvas, Metropolitan Museum of Art, New York
71872 Gleichnis vom verlorenen Sohn BATONI, Pompeo Gleichnis vom verlorenen Sohn 1773 Oil on canvas 138 x 100,5 cm
4982 Madonna and Child  ewgdf BATONI, Pompeo Madonna and Child ewgdf c. 1742 Oil on canvas Galleria Borghese, Rome
4980 Portrait of Charles Crowle BATONI, Pompeo Portrait of Charles Crowle 1761-62 Oil on canvas, 248 x 172 cm Mus??e du Louvre, Paris
43814 Portrait of Princess Giacinta Orsini Buoncampagni Ludovisi BATONI, Pompeo Portrait of Princess Giacinta Orsini Buoncampagni Ludovisi c. 1758 Oil on canvas, 137 x 100 cm
4984 Sensuality dhg BATONI, Pompeo Sensuality dhg 1747 Oil on canvas, 138 x 100 cm The Hermitage, St. Petersburg
4983 Sir Gregory Page-Turner dfhf BATONI, Pompeo Sir Gregory Page-Turner dfhf 1768 Oil on canvas, 135 x 99 cm Private collection
4985 Susanna and the Elders gmg BATONI, Pompeo Susanna and the Elders gmg Oil on canvas Civici Musei, Pavia
4981 The Ecstasy of St Catherine of Siena BATONI, Pompeo 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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