Don José Moñino y Redondo, Conde de Floridablanca

c. 1776

Pompeo Girolamo Batoni (Italian, 1708–1787)

In addition to executing portraits of prominent travelers in Rome, Pompeo Batoni often painted important ambassadors and diplomats to the Vatican. The Count of Floridablanca, a brilliant lawyer and author of texts on jurisprudence, served as King Charles III of Spain’s ambassador to the Holy See between 1772 and 1776. He probably posed for Batoni in the months before he was recalled to Charles’s court. Here, the dignified Floridablanca, who wears the Spanish Order of Isabella the Catholic, appears to have been momentarily interrupted from reading a letter.

Status: On View, Gallery 217
Department: Painting and Sculpture of Europe

Artist: Pompeo Girolamo Batoni
Title: Don José Moñino y Redondo, Conde de Floridablanca
Place: Italy (Artist's nationality:)
Date Dates are not always precisely known, but the Art Institute strives to present this information as consistently and legibly as possible. Dates may be represented as a range that spans decades, centuries, dynasties, or periods and may include qualifiers such as c. (circa) or BCE.: 1771–1781
Medium: Oil on canvas
Dimensions: 99.7 × 75 cm (39 1/4 × 29 5/8 in.)
Credit Line: Charles H. and Mary F. S. Worcester Collection
Reference Number: 1974.386
IIIF Manifest The International Image Interoperability Framework (IIIF) represents a set of open standards that enables rich access to digital media from libraries, archives, museums, and other cultural institutions around the world. Learn more.: https://api.artic.edu/api/v1/artworks/47578/manifest.json

Ernst Emmerling, Pompeo Batoni: sein Leben und Werk (Darmstadt: Gesellschaft Hessischer Bücherfreunde, 1932), p. 106, no. 43.
Art Institute of Chicago Annual Report 1974-75 (Chicago, 1975), pp. 11 (ill.), 12, 31.
John Maxon, The Art Institute of Chicago, rev. ed (Thames and Hudson, 1977), p. 64 (ill.).
Anthony M. Clark, Pompeo Batoni: A Complete Catalogue of His Work with an Introductory Text, ed. by Edgar Peters Bowron (Phaidon, 1985), p. 340, no. 394, pl. 354.
Paul Mitchell and Lynn Roberts, Frameworks: Form, Function and Ornament in European Portrait Frames (London: Merrell Holberton, 1996), p. 268 (ill.).
Edgar Peters Bowron, Pompeo Batoni: Complete Catalogue of his Paintings, vol. 2 (New Haven and London: Yale University Press, 2016), pp. 511-13, ill., no. 403.

Art Institute of Chicago, European Portraits 1600-1900 in The Art Institute of Chicago, 1978, cat. 10 (ill.).
Art Institute of Chicago, The Art of the Edge: European Frames 1300-1900, 1986, cat. 22 (frame ill., painting mentioned).
Yale Center for British Art, New Haven, The English Prize: The Capture of the Westmorland, and Episode of the Grand Tour, October 4, 2012-January 13, 2013, cat. 6 (ill.).

Possibly Princess Giuliana Santacroce, Rome [acc. to Clark 1985]; Santacroce family, Rome by the early nineteenth century [the painting appears in an undated, early-nineteenth-century manuscript inventory, Quadri della Galleria del Principe D. Antonio Santacroce, no. 51, as Ritratto del marchese Florido Blanco del Battoni; the original inventory previously in the possession of the Rangoni family, copy in curatorial file]; by descent to Princess Luisa Pubblicola Santacroce, who married Marquess Aldobrandino Rangoni (1846–1928) in 1869 in Macerata, Marche, Italy; by descent to the Rangoni family, Macerata [seen by Carlo Sestieri in the villa of Forano near Macerata, no date provided, see letter from Sestieri, dated December 10, 1977, in curatorial file]. Roman art market, 1968-73 [acc. to Clark 1985]; Marcello and Carlo Sestieri, Rome, by late 1973 [see letter from Sestieri, December 1977, in curatorial file]. Heim Gallery, London, 1974; sold to the Art Institute, 1974.

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Date Dates are not always precisely known, but the Art Institute strives to present this information as consistently and legibly as possible. Dates may be represented as a range that spans decades, centuries, dynasties, or periods and may include qualifiers such as c. (circa) or BCE.

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Don José Moñino y Redondo, Conde de Floridablanca

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Date Dates are not always precisely known, but the Art Institute strives to present this information as consistently and legibly as possible. Dates may be represented as a range that spans decades, centuries, dynasties, or periods and may include qualifiers such as c. (circa) or BCE.

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