Portrait of a Young Man ca. 1760–65 Pompeo Batoni Italian Sitting for a portrait by Batoni almost became a rite of passage for wealthy Grand Tourists in Rome. This young man’s identity remains unknown, but he was afforded the most luxurious format: a full-length portrait filled with the props Batoni used repeatedly in order to announce various aspects of a Grand Tour education, including a bas relief of Antinous, a statue of Minerva, an armillary sphere, guidebooks to ancient and modern Rome, a volume of biographies of painters, and a volume of Homer's Odyssey. Although the majority of Batoni’
Portrait of a Young Man ca. 1760–65 Pompeo Batoni Italian Sitting for a portrait by Batoni almost became a rite of passage for wealthy Grand Tourists in Rome. This young man’s identity remains unknown, but he was afforded the most luxurious format: a full-length portrait filled with the props Batoni used repeatedly in order to announce various aspects of a Grand Tour education, including a bas relief of Antinous, a statue of Minerva, an armillary sphere, guidebooks to ancient and modern Rome, a volume of biographies of painters, and a volume of Homer's Odyssey. Although the majority of Batoni’s patrons were English, this sitter’s costume suggests that he may have been Portrait of a Young Man. Pompeo Batoni (Italian, Lucca 1708–1787 Rome). ca. 1760–65. Oil on canvas. Paintings
Size: 2636px × 3719px
Photo credit: © MET/BOT / Alamy / Afripics
License: Licensed
Model Released: No
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