Claudio Francesco Beaumont

In Rome, he is said to have copied the works of Raphael, the Carracci, and Guido Reni, but showed little respect for the Roman painters of his own time, except for Trevisani, whose manner he imitated in the vigor of his tints.

The repertoire of Beaumont was formed in these years, taking advantage of the iconography that was dear to Trevisani, as is recognized by the subjects of Sofonisba executed according to the style of Maratta (first sent from Rome in 1729, in Palazzo Madama, Turin, up to 1800, and then in private collection).

But Beaumont stayed in Rome to complete a Blessed Margaret and a San Carlo Borromeo Meets Plague Victims destined for the church of Superga.

Together with a Deposition for Santa Croce in Turin, the paintings for Superga recall the style of Maratta that was prevailing in the Roman and Neapolitan churches, with references to Brandi, Conca and Trevisani.

Beaumont also painted for the churches of Piedmont, including the altarpiece representing the Blessed of Chantal and San Francesco di Sales (1740) for the monastery of the Visitation of Pinerolo.