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| Jean-Baptiste François Bosio Pompeo Batoni painting 18th century Metropolitan Museum of Art |
"In Rome from 1727, Batoni learned the proper academic rules of composition that were strongly influenced by the Roman Raphaelite style. ... He drew from both classical and contemporary statues repeatedly, refining his unequaled drawing skills. ... He strove to master all the fine qualities of Renaissance and seicento Roman paintings, as we know from his consciously elaborate altarpieces inspired by very dissimilar examples, from Raphael to Maratta, from Annibale Carracci to Reni and Guercino. Batoni gave these a unified style through his flawless draftsmanship and use of luminous colors."
– Daniela Tarabra in European Art of the Eighteenth Century, translated by Rosanna M. Giammanco Frongia (Getty Museum, 2006)
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| Pompeo Batoni Return of the Prodigal Son 1773 Kunsthistorisches Museum, Vienna |
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| Pompio Batoni Aeneas fleeing Troy 1753 Sabauda Gallery, Turin |
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| Pompeo Batoni Apollo with the Muses of Music and Poetry ca. 1760 Louvre |
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| studio of Pompeo Batoni Apollo with the Muses of Music and Poetry ca. 1760 Wilanów Palace, Warsaw |
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| Pompeo Batoni Vulcan 1750 location unknown |
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| Pompeo Batoni Hercules at the crossroads 1748 Liechtenstein Museum |
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| Pompeo Batoni Study for Hercules at the crossroads ca. 1740-42 drawing Philadelphia Museum of Art |
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| Pompeo Batoni Académie ca. 1765 Museum of Fine Arts, Houston |
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| Pompeo Batoni Académie ca. 1765 Museum of Fine Arts, Houston |
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| Pompeo Batoni Académie ca. 1765 Philadelphia Museum of Art |
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| Pompeo Batoni Figure and drapery study 18th century Morgan Library, New York |
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| Pompeo Batoni River God 18th century Rijksmuseum |
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| Pompeo Batoni Studies of an old bearded man ca. 1740-45 Royal Collection, Great Britain |