6 Like 0 Dislike
Pompeo Girolamo Batoni (1708-1787) was an Italian painter who displayed a solid technical knowledge in his portrait work and in his numerous allegorical and mythological pictures. The high number of foreign visitors travelling throughout Italy and reaching Rome during their Grand Tour made the artist specialized in portraits. Batoni won international fame largely thanks to his customers, mostly British of noble origin, whom he portrayed, often with famous Italian landscapes in the background. Such "Grand Tour" portraits by Batoni were in British private collections, thus ensuring the genre's popularity in the United Kingdom. One generation later, Sir Joshua Reynolds would take up this tradition and become the leading English portrait painter. Although Batoni was considered the best Italian painter of his time, contemporary chronicles mention of his rivalry with Anton Raphael Mengs. In addition to art-loving nobility, Batoni's subjects included the kings and queens of Poland, Portugal and Prussia, the Holy Roman Emperors Joseph II and Leopold II (a fact which earned him noble dignity), as well the popes Benedict XIV, Clement XIII and Pius VI, Elector Karl Theodor of Bavaria and many more. He also received numerous orders for altarpieces for churches in Italy (Rome, Brescia, Lucca, Parma, etc.), as well as for mythological and allegorical subjects. 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. As such Pompeo Batoni is considered a precursor of Neoclassicism. Batoni owed his first independent commission to the rains that struck Rome in April 1732. Seeking shelter from a sudden storm, Forte Gabrielli di Gubbio, count of Baccaresca took cover under the portico of the Palazzo dei Conservatori on the Capitoline Hill. The Gabrielli Madonna obtained general admiration and by the early 1740s Batoni started to receive other independent commissions. 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. 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 1741, he was inducted into the Accademia di San Luca. 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 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". His late years were affected by declining health; he died in Rome in 1787 at the age of 79, and was buried at his parish church of San Lorenzo in Lucina. Batoni's last will executors were cardinal Filippo Carandini and James Byres, the Scottish antiquary, but the estate was insolvent and his widow was forced by the events to petition the Grand Duke of Tuscany, whom Batoni had painted in 1769, for financial assistance, offering in exchange her husband's unfinished self-portrait, today at the Uffizi in Florence. According to a rumor, before dying in Rome in 1787, he bequeathed his palette and brushes to Jacques-Louis David, to whom, full of admiration for his Oath of the Horatii, Batoni would have confessed: "Only the two of us can call themselves painters". Jacques-Louis David: coming very soon https://en.wikipedia.org/wiki/Pompeo_Batoni Thank you, please subscribe for future videos https://www.youtube.com/channel/UC0gMk3w9hw8BbtqoUpEMKeg?sub_confirmation=1
A timelapse video showing the processes involved in conserving and restoring a 17th Century Portrait. Including; Lining, cleaning, stopping, retouching and varnishing. The painting is a portrait of Lady Katherine Anne Erskine painted by Sir John Baptist Medina (Brussels 1659-1710 Edinburgh) who was an artist of Flemish-Spanish origin who worked in England and Scotland, mostly as a portrait painter.
Are Meghan Markle and Prince Harry moving because of a feud in the Royal Family? Subscribe to our channel: https://goo.gl/hHvOf8 There’s few things tabloids love claiming more than some drama with the royal family. Kate Middleton and Meghan Markle being in an all out feud would definitely sell magazines, but is it true? There does seem to be something strange going on with the royal family, but there might be more than meets the eye. Prince William and Prince Harry have always been close, but recently things between them have changed. And could Meghan’s wedding and pregnancy announcement have caused her to fight with Princess Eugenie? It’s a strange state of affairs when Prince Charles needs to step in to keep the peace. Not so royal as they normally seem. Do you think that the Duke and Duchess of Cambridge have been unwelcoming to Meghan Markle? Or do she and Prince Harry just expect too much? Share your opinions with us in the comment section, and then click subscribe for more from TheTalko. ----------------------------------------------------------------------------------------- Our Social Media: Facebook: https://www.facebook.com/TheTalko Twitter: https://twitter.com/thetalko Instagram: https://instagram.com/the_talko ----------------------------------------------------------------------------------------- For more videos and articles visit: http://www.thetalko.com/
A documentary featuring an interview with Eric Hebborn at his home in Italy. Eric Hebborn (1934-1996) was a British painter and art forger and later an author. On January 8, 1996, Eric Hebborn was found lying in a street in Rome, his skull crushed with a blunt instrument. He died three days later in the hospital on January 11, 1996.
Alexander Roslin Alexandre in French; 15 July 1718 – 5 July 1793) was a Swedish portrait painter who worked in Scania, Bayreuth, Paris, Italy, Warsaw and St. Petersburg, primarily for members of aristocratic families.
After showing an unusual talent for drawing and painting, he trained in drawing at Karlskrona under Admiralty Captain Lars Ehrenbill (1697–1747) in order to become a naval draughtsman, and then began to paint miniatures.
Stockholm had become an intellectual and artistic center since Queen Christina had established connections with Paris, and Alexander Roslin moved there.
At the age of sixteen he became apprenticed to the court painter Georg Engelhard Schröder in Stockholm, studying painting there until 1741 and beginning to paint large portraits in oils. Schröder was influenced by Hyacinthe Rigaud and Nicolas de Largillière. In 1741, Roslin settled in Gothenburg, and the following year moved to Scania, where he remained until 1745 painting portraits and also creating religious paintings for the church at Hasslöv.
In 1745, Roslin left Sweden for Bayreuth, where he had been invited to work for Frederick, Margrave of Brandenburg-Kulmbach. In 1747, he moved to Italy to study the works of the great masters. While in Italy he portrayed, among others, the family of Philip, Duke of Parma in 1752. In the same year Roslin moved to Paris, at the age of 34, where he settled for the rest of his life.
Here, in 1759, he married the pastel painter Marie-Suzanne Giroust. The couple had three sons and three daughters. In 1768 Roslin painted her dressed in Bolognese fashion, Lady with Veil, a portrait that the art critic, writer and philosopher Denis Diderot judged "très piquante".
In 1767 he painted a double portrait of them both; she is depicted working in pastels on a portrait of Henrik Wilhelm Peill, while Roslin points at a gold box he received from Peill as a present. The frame of the painting is inscribed Loin et près (Far away and yet close), showing that the portrait was a token of friendship. This painting was purchased by the Swedish National Museum in 2013.
In Paris he was a protégé of François Boucher and his work rapidly became fashionable. He was chosen as a member of the French Art Academy, to which his wife also belonged. His early portraits are painted in bright, cool colours, and show the influence of Jean-Marc Nattier and Hyacinthe Rigaud. Around the 1760s he started using daring colouring in his paintings, such as in the portrait of his wife, Lady with Veil (1768), and the Jennings Family (1769).
Roslin had great technical skill in painting the surfaces and texture of precious materials such as fabrics and jewels, but was also adept at capturing his sitters at their best. In Paris he soon became one of the foremost portraitists of his time, valued mostly for practiced rendering of luxurious fabrics and gentle complexions: "Satin, skin? Go to Roslin." His portraits of members of the French aristocracy show sensitivity and taste and also psychological insight, although changes in taste might make his faces seem "stiff and lifeless" to some observers today. In 1765 he scored a significant triumph when his portrait of Louis, Duke of La Rochefoucauld and his family, painted in competition with Jean-Baptiste Greuze, was awarded the prize. He also painted several portraits of members of the French royal family and foreign princes, including the Swedish king Gustav III and his brothers. In the second half of the 18th century, having one's portrait painted by Roslin was the highpoint of public esteem. In 1771 Roslin, although a foreigner (often called Roslin le suédois, "Roslin the Swede"), was awarded a pension and a free apartment in the Louvre. The following year he was awarded the Royal Order of Vasa by his native country, after which he was also called Roslin le Chevalier ("Roslin the knight").
He was often surrounded by Swedish visitors to Paris, such as Peill. He was also a good friend of the influential Swedish politician Count Carl Gustaf Tessin. After his wife's death, during the years 1774–75, Roslin visited Sweden, where he had been elected a member of the Royal Swedish Academy of Arts, oddly enough as a foreign honorary member. During the visit, he painted the members of the Swedish royal family, his self-portrait while painting the king, and also portraits of the statesman Carl Fredrik Scheffer and the naturalist Carl Linnaeus.
Thank you, please subscribe for future videos