jaded-mandarin:

Jean-Etienne Liotard. Detail from A Frankish Woman and her Servant, 1750.

(via hicockalorum)

ironlithium:

Giuseppe Sanmartino (Italian, 1720-1793), Cristo Velato (Veiled Christ), 1753. Marble. Cappella Sansevero, Naples.

(via blastedheath)

oldroze:

Giacomo CERUTI (Italian painter, Lombard school (b. 1698, Milano, d. 1767, Milano)

Still-Life
1750s
Oil on canvas
Private collection

(via dientes-de-leche)

pmikos:

Pompeo Batoni, Purity of Heart, 1752. Uppark, Sussex, The national Trust, The Fetherstonhaugh Collection (by renzodionigi)

From the Page: Pompeo Girolamo Batoni (25 January 1708 – 4 February 1787) was an Italian painter whose style incorporated elements of the French Rococo, Bolognese classicism, and nascent Neoclassicism.
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.
He was married twice, to Caterina Setti (d. 1742) in 1729, and then to Lucia Fattori in 1747, and had twelve children; three of his sons assisted in his studio. From 1759 Batoni lived in a large house on the Via Bocca di Leone in Rome, which included a studio as well as exhibition rooms and a drawing academy. He died in Rome.

workman:

The rhinoceros in Venice, 1751, Pietro Longhi

(Source: compendium-of-beasts, via dientes-de-leche)

bobdobalina:

Antonio Corradini
La Pudicizia

“In 1750, he completed Veiled Truth (also called Modesty or Chastity) a remarkable tomb monument dedicated to Cecilia Gaetani dell’Aquila d’Aragona, mother of Raimondo de Sangro, the main patron of the Sansevero Chapel (Capella Sansevero de’ Sangri or Pietatella) in central Naples, who died at the early age of 23. Not only is it a technically inspired work, but the conceit of modesty shielded by the flimsiest of veils creates an alluring but ironic tension.”

(via a-thoughtful-surrender)

pmikos:

Pompeo Batoni, Purity of Heart, 1752. Uppark, Sussex, The national Trust, The Fetherstonhaugh Collection (by renzodionigi)

Pompeo Batoni, Purity of Heart, 1752. Uppark, Sussex, The national Trust, The Fetherstonhaugh Collection

Pompeo Girolamo Batoni (25 January 1708 – 4 February 1787) was an Italian painter whose style incorporated elements of the French Rococo, Bolognese classicism, and nascent Neoclassicism.
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.
He was married twice, to Caterina Setti (d. 1742) in 1729, and then to Lucia Fattori in 1747, and had twelve children; three of his sons assisted in his studio. From 1759 Batoni lived in a large house on the Via Bocca di Leone in Rome, which included a studio as well as exhibition rooms and a drawing academy. He died in Rome.

opus53:

Corrado Giaquinto, The Penitent Magdalen, Oil on canvas, 1750

blastedheath:

antonio-m

Simon-Louis Boquet

Archimède

1752. Musée du Louvre, Paris.

(via iloverainandcoffee)

Jean-Baptiste Oudry - Le canard blanc by truity1967 on Flickr.

Via Flickr:
1753