Writing a personal biography samples

Batoni went to Rome in a big fashion, especially after his colleague and rival Anton Raphael Mengs, a representative of the early Neoclassicism, moved in to Madrid. Thank portraitist attracted to his Studio to know the highest aristocratic from all over Europe, he was commissioned portraits of the Pope and the monarchs.

Pompeo batoni biography samples

He was the curator of the papal collections and his house became a meeting place for artists of those days, social and intellectual center. Among his friends included Winckelmann, and, like him, Batoni sought in his paintings to moderate classicism of the old masters, in contrast to the then fashionable style of the Venetian artists.

The painter Benjamin West, who lived in Rome in , complained that the Italian artists "anything else did not say anything else did not look, but the work of Pompeo Batoni". He became such a respected master that many of his contemporaries, who devoted to him a page of his works, trying to figure out what "manner of Batoni" why he was destined to occupy a leading position in Rome and to become, according to Winckelmann, "one of the best in the world.

Batoni was married twice: in — Katherine Network mind.

Pompeo batoni biography samples for kids

Of his twelve children three sons were his assistants in the art classes. Starting from Batoni lived in a large house on the via Boca di Leone in Rome, which housed his Studio, exhibition rooms and a drawing school. Here the nobleman met the young artist who was drawing the ancient bas-reliefs and the paintings of the staircase of the palace.

Impressed by his skill and the purity of the design, Gabrielli asked Batoni to see some of his works, and when conducted to the painter's studio he was so awed by his talent that he offered him to paint a new altarpiece for the chapel of his family in San Gregorio Magno al Celio, the Madonna on a Throne with Child and four Saints and Blesseds of the Gabrielli family —33 , a second version of which is now at the Gallerie dell'Accademia in Venice.

The Gabrielli Madonna obtained general admiration and by the early s Batoni started to receive other independent commissions. His celebrated painting, The Ecstasy of Saint Catherine of Siena illustrates his academic refinement of the late-Baroque style. Batoni became a highly-fashionable painter in Rome, particularly after his rival, the proto-neoclassicist Anton Raphael Mengs, departed for Spain in 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.

Commenting on Batoni, the art historians Boni and de Rossi said of Batoni and Mengs the other prominent painter in Rome during the second half of the 18th century, that Mengs was made painter by philosophy: Batoni by nature Batoni was more painter than philosopher, Mengs more philosopher than painter. In , he was inducted into the Accademia di San Luca.

He was greatly in demand for portraits, particularly by the British travelling 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 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 Reynolds would become its leading practitioner.

In the painter Benjamin West, while visiting Rome would complain that Italian artists "talked of nothing, looked at nothing but the works of Pompeo Batoni". Batoni's style took inspiration and incorporated elements of classical antiquity, French Rococo, Bolognese classicism, and the work of artists such as Nicolas Poussin, Claude Lorrain, and especially Raphael.

Student biography samples

As such, Pompeo Batoni is considered a precursor of Neoclassicism. Artwork by Pompeo Girolamo Batoni. His early works exhibited Baroque influences, but his style evolved towards a more Neoclassical aesthetic. Batoni's study of Raphael and the principles of Neoclassicism transformed his style.

Pompeo batoni biography samples free

He embraced allegorical themes, invoking classical motifs in poses, facial expressions, and the portrayal of nude figures. His compositions became more rational and ordered, with a balance between emotion and intellect. Batoni's Neoclassical style sometimes possessed a superficial character, with classical elements lightened by a playful line and ethereal grace.