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| Paolo de' Matteis Allegory of Knowledge and the Arts in Naples ca. 1699 oil on canvas Museum of Fine Arts, Houston |
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| Paolo de' Matteis St Nicolas of Bari felling a Tree inhabited by Demons ca. 1727 oil on canvas High Museum of Art, Atlanta |
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| Paolo de' Matteis Christ in Glory appearing to St Cajetan 1682 oil on canvas Chiesa di San Paolo, Pistoia |
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| Paolo de' Matteis Adoration of the Shepherds ca. 1710-15 oil on canvas Speed Art Museum, Louisville, Kentucky |
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| Paolo de' Matteis The Choice of Hercules 1712 oil on canvas Ashmolean Museum, Oxford |
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| Paolo de' Matteis Triumph of the Immaculate Conception ca. 1710-15 oil on canvas Gemäldegalerie, Berlin |
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| Paolo de' Matteis Venus presenting Arms to Aeneas before 1728 oil on canvas Palazzo Buonaccorsi, Macerata |
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| Paolo de' Matteis Triumph of Galatea ca. 1700-1710 oil on canvas private collection |
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| Paolo de' Matteis The Annunciation 1712 oil on canvas Saint Louis Art Museum |
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| Paolo de' Matteis Danaë and the Shower of Gold before 1728 oil on canvas Museo de Bellas Artes de Valencia |
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| Paolo de' Matteis Erminia and the Shepherd (scene from Tasso's Gerusalemme Liberata) ca. 1715 oil on panel Kunsthistorisches Museum, Vienna |
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| Paolo de' Matteis St Gil de Casayo in Penitence before 1728 oil on canvas Real Academia de Bellas Artes de San Fernando, Madrid |
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| Paolo de' Matteis Cain slaying Abel 1690 oil on canvas private collection |
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| Paolo de' Matteis Alpheus and Arethusa 1710 oil on canvas private collection |
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| Paolo de' Matteis The Judgment of Paris ca. 1700-1710 oil on canvas private collection |
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| Paolo de' Matteis Self Portait painting an Allegory of the Peace of Utrecht ca. 1714-18 oil on canvas (bozzetto) Museum of Fine Arts, Houston |
"Paolo de' Matteis (1662-1728) first trained in Luca Giordano's workshop in Naples. Before 1683 he launched his career in Rome, where, according to legend, he was 'discovered' by the Spanish ambassador while copying altarpieces in Saint Peter's Cathedral. When the ambassador was nominated Viceroy of Naples, de' Matteis followed him there. Responding to changing tastes and Carlo Maratti's influence, de' Matteis developed a delicate, graceful manner that broke with the vigor of the Baroque. Within ten years, his reputation was international, rivaling that of Francesco Solimena. From 1702 to 1705 de' Matteis worked for the French court in Paris, where he met influential nobles and bankers; the elegant French style confirmed the direction his painting had already taken. Returning to Naples, which the Austrians had seized from Spain, de' Matteis accepted commissions from both the Austrian aristocracy and from intellectuals and nobility abroad. Renowned for his speed and virtuosity, he also painted decorative schemes for Neapolitan churches."
– from the biographical sketch at the Getty Museum, Los Angeles