ART TRACKERSConnecting fine art to people
Platform OverviewPlatform SecurityPricingTechnology OverviewTags & PlaquesWhat is UAINLegal & Compliance
GovernmentTribal NationsArtistsUniversity & CollegesServices
InstitutionsExploreMuseum Collections
Artists
Why Art TrackersAboutContactBlogDocumentationCareers
Request demo
Platform OverviewPlatform SecurityPricingTechnology OverviewTags & PlaquesWhat is UAINLegal & Compliance
GovernmentTribal NationsArtistsUniversity & CollegesServices
InstitutionsExploreMuseum Collections
Artists
Why Art TrackersAboutContactBlogDocumentationCareers
Request demo
Art Trackers logo
ART TRACKERS
Connecting fine art to people

Connecting fine art to people. Preserving cultural legacy through technology.

Platform

FeaturesHow It WorksSecurityIntegrations

Government

For Cities & CountiesComplianceResourcesCase Studies

Resources

DocumentationHelp CenterBlog

Company

About UsCareersNewsContact Us

© 2026 Art Trackers LLC. All rights reserved.

Privacy PolicyTerms of ServiceAccessibility
    Museum collections / Art Institute of Chicago
    Allegory of Peace and War
    Pompeo Girolamo Batoni. Allegory of Peace and War, 1776. The Art Institute of Chicago. Public domain (CC0).
    AT-00001606

    Public data from the Art Institute of Chicago. Learn more

    Allegory of Peace and War

    by Pompeo Girolamo Batoni

    Inscriptions

    Signed and dated: POMPEO DE BATONI PINXIT ROMAE 1776

    Provenance

    In the artist’s studio from 1776 until at least January of 1781 [for early mentions of the picture including those in letters of Father John Thorpe to Lord Arundel, see Bowron 2016, pp. 518-20]. Probably Comtesse Clotilde Eugénie d’Oultremont (née van den Steen de Jehay, 1850–1932); by descent to her daughter Elisabeth von Furstenberg (née d’Oultremont, died 1953), Brussels; by descent to her son Maximilien, Cardinal von Furstenberg (died 1988), Brussels, Lisbon, and Vatican City; by descent to his nephew Comte Wenemar de Furstenberg, Belgium [see copy of Cardinal von Fürstenberg’s note of June 5, 1977, listing paintings bequeathed to Comte Wenemar de Furstenberg, and the count’s letter to Jean-François Heim, dated March 27, 1998, in object file]; sold through Jean-François Heim, Paris, to the Art Institute, 1998.

    Exhibition history

    Houston, Museum of Fine Arts, Pompeo Batoni: Prince of Painters in Eighteenth-century Rome, October 21, 2007-January 27, 2008, cat. 71; National Gallery, London, February 20-May 18, 2008 [Houston only].

    Publications

    Onofrio Boni, Elogio di Pompeo Girolamo Batoni (Rome: Stamperia Pagliarini, 1787), pp. 55, 68. T. Trenta, “Notizie di pittori, scultori e architetti lucchesi,” in Memorie e documenti per servire all’istoria del Ducato di Lucca, VIII, 1822, p. 173. Gaudenzio Claretta, I Reali di Savoia Munifici Fautori delle Arti: Contributo alla Storia Artistica del Piemonte del Secolo XVIII. (Turin: Stamperia Reale della Ditta G. B. Paravia E C., 1893), pp. 229–30. Ernst Emmerling, Pompeo Batoni: sein Leben und Werk (Darmstadt: Gesellschaft Hessischer Bücherfreunde, 1932), p. 129, no. 176. Isa Belli Barsali, “Pompeo Gerolamo Batoni (1708–1787),” La Provincia di Lucca, vol. 4 (January-March 1964), pp. 75–76, 80 nn. 22 and 23. Ein Potsdamer Maler in Rom: Briefe des Batoni-Schülers Johann Gottlieb Puhlmann aus den Jahren 1774 bis 1787, ed. Götz Eckardt (Berlin: Henschelverlag, 1979), pp. 121, 145, 274-75. Anthony M. Clark, Pompeo Batoni: A Complete Catalogue of His Work with an Introductory Text, ed. Edgar Peters Bowron (Oxford: Phaidon, 1985), p. 369. Art in Rome in the Eighteenth Century, ex. cat., eds. Edgar Peters Bowron and Joseph J. Rishel (Philadelphia: Philadelphia Museum of Art, 2000), p. 320. Edgar Peters Bowron, “Pompeo Batoni’s ‘Allegory of Peace and War’ and Other Subject Pictures,” in Studi di Storia dell’Arte in Onore di Denis Mahon, eds. Maria Grazia Bernardini, Silvia Danesi Squarzina, and Claudio Strinati (Milan: Electa, 2000), pp. 359–60, fig. 4. John Gedo, “Pompeo Batoni’s Allegory of Peace and War,” Burlington Magazine 144 (2002), pp. 601-606, fig. 10. Larry J. Feinberg, “A Brief History of the Old Masters in the Art Institute of Chicago, Museum Studies 32, 2 (2006), p. 21, fig. 16. Edgar Peters Bowron and Peter Björn Kerber, Pompeo Batoni: Prince of Painters in Eighteenth-Century Rome, ex. cat., Museum of Fine Arts, Houston (New Haven: Yale University Press, 2007), pp. 90, 138-40, 166, 170, 176, 180, 202, 206 n. 91, no. 71, fig. 122. Liliana Barroero, “l’antico, gli antichi. Batoni e l’ambiente erudite romano” in Pompeo Batoni, 1708–1787: l’Europa delle Corti e il Grand Tour, ex. cat., Palazzo Ducale, Lucca, eds. Liliana Barroero and Fernando Mazzocca (Milan: Silvana Editoriale, 2008), p. 60, fig. 2. Edgar Peters Bowron, Pompeo Batoni: Complete Catalogue of his Paintings, vol. 2 (New Haven and London: Yale University Press, 2016), pp. 518-20, ill., no. 407.

    Quick Overview

    Artist
    Pompeo Girolamo Batoni (Italian, 1708–1787)
    Date
    1776
    Medium
    Oil on canvas
    Dimensions
    136 × 99 cm (53 1/2 × 39 in.); Framed: 158.2 × 121.7 × 10.5 cm (62 1/4 × 47 7/8 × 4 1/8 in.)
    Type
    Painting
    Classification
    oil on canvas
    Style
    18th Century
    Place
    Italy
    Department
    Painting and Sculpture of Europe
    Credit line
    Gift of the Old Masters Society
    Accession no.
    1998.152

    More by Pompeo Girolamo Batoni in museum collections

    • Saint Andrew

      Pompeo Girolamo Batoni

      1740–43 · Painting

      Public collection via the Art Institute of ChicagoAT-00000624
    • Don José Moñino y Redondo, Conde de Floridablanca

      Pompeo Girolamo Batoni

      c. 1776 · Painting

      Public collection via the Art Institute of ChicagoAT-00001014
    • Time Unveiling Truth

      Pompeo Girolamo Batoni

      1740–45 · Painting

      Public collection via the Art Institute of ChicagoAT-00001050
    • Study for Saint Bartholomew and Drapery

      Pompeo Girolamo Batoni

      c. 1740 · Drawing

      Public collection via the Art Institute of ChicagoAT-00005954

    Open-access museum data

    This record comes from the open-access collection data that the Art Institute of Chicago publishes for unrestricted use (Creative Commons Zero). Art Trackers shows a selection of the museum's published fields. The Art Institute of Chicago is not an Art Trackers client and has not reviewed or endorsed this page; the museum's own website is the authoritative record.

    • View this work at the Art Institute of Chicago
    • The Art Institute of Chicago: open-access terms

    Data retrieved from the Art Institute of Chicago on October 8, 2026. The museum may have updated its record since.

    Open-access museum record · AT-00001606

    Powered by Art Trackers