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George Legge, Viscount Lewisham
Oil on canvas. 1778
Batoni, Pompeo
George Legge, Viscount Lewisham
Oil on canvas. 1778
Batoni, Pompeo

Batoni combined the sobriety and naturalism of Neo-classical portraiture with the elegance and sensual appeal of Italian painting. George Legge, an English aristocrat making the Grand Tour, was a friend of the British royal family. He holds a map of Italy while prominent on the desk next to him is a Roman bust of Faustina the Younger, wife of the Emperor Marcus Aurelius (now in the Capitoline Muse

Francis Basset, 1st Baron of Dunstanville
Oil on canvas. 1778
Batoni, Pompeo
Francis Basset, 1st Baron of Dunstanville
Oil on canvas. 1778
Batoni, Pompeo

This full-length portrait by Pompeo Batoni shows a young English nobleman dressed in a scarlet coat, posing against the Roman countryside. The picture conforms to the Grand Tour portrait model of which Batoni, together with other artists such as Anton Raphael Mengs, became a leading practitioner, attaining success particularly among British patrons. Here the sitter is holding a walking stick and a

Academic drawing
Black chalk, White chalk on green paper. 1765 - 1768
Batoni, Pompeo
Academic drawing
Black chalk, White chalk on green paper. 1765 - 1768
Batoni, Pompeo

Pompeo Batoni was the leading exponent of Roman classicism during the second half of the eighteenth century along with Anton Raphael Mengs. Following initial training in his native Lucca, Batoni studied in Rome, immersed an atmosphere of classicism and rigorous academicism. There he was especially appreciated as a portrait painter, for works such as Francis Basset, 1778.The present work, like Meng

Life study
Black chalk, White chalk on grey paper. 1765 - 1768
Batoni, Pompeo
Life study
Black chalk, White chalk on grey paper. 1765 - 1768
Batoni, Pompeo

El modelo, sentado de frente sobre unos paños, señala con su mano derecha y vuelve la cabeza de perfil.Existen varias academias de Batoni en diferentes colecciones que presentan todas la misma técnica y estilo.Todas ellas están fechadas por el artista entre 1765 y 1768, ya en el período tardío de su producción, y sirven de punto de partida a la evolución de este tipo de dibujos en el Neoclasicismo

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