Focus on Borghese Gladiator and discuss the In painting.
Having seen the sculpture on his Italian travels, Rubens included a figure of Fury in the same pose (seen from behind) in one of the scenes of his allegorical Palais de Luxembourg cycle of paintings for Marie de' Medici, the Conclusion of the Peace at Angers, conserved at the Louvre; the figure of Fury is bottom right.
The figure in the water (Brook Watson) in Watson and the Shark by John Singleton Copley is based on the sculpture's pose.
It was known, although not in the French national collection, when Ménageot included it in the background of his The Death of Leonardo da Vinci in the arms of Francis I (1781); indeed, he probably saw it at the Villa Borghese during his stay at the French Academy in Rome from 1769 to 1774.  However, it was an anachronism in such a setting since Leonardo died in 1519, about ninety years before the statue was discovered.
The stance and attitude of the warriors in Thomas Chambers's Two of the Natives of New Holland, Advancing to Combat (based on a drawing by Sydney Parkinson and illustrating his posthumous A Journal of a Voyage to the South Seas), a typical engraving in the noble savage ideal, is said to have been based upon the Borghese Gladiator.
The headless statue in Thomas Cole's 1836 painting Destruction (the fourth painting in his The Course of Empire series) is based on the Borghese warrior.
The pose of Phineas in Luca Giordano's c. 1660 painting Perseus turning Phineas and his Followers to Stone in the National Gallery, London appears to mirror the Borghese Gladiator.
Luca Giordano Watson and the Shark Thomas Cole Rome Marie de' Medici Phineas National Gallery Villa Borghese Sydney Parkinson allegorical Palais de Luxembourg cycle of paintings A Journal of a Voyage to the South Seas The Course of Empire The Death of Leonardo da Vinci in the arms of Francis I noble savage Louvre Ménageot John Singleton Copley Two of the Natives of New Holland, Advancing to Combat Brook Watson French Academy in Rome Gladiator