Death of Cleopatra, oil on canvas, Italy, 17th-18th centuries.
8000,00 zł
The painting depicts Cleopatra at the moment of her suicide, shown in half pose, wearing a red, unbuttoned dress with her breasts exposed and a serpent held to her chest – the only attribute that allows clear identification of the scene. The woman, with her alabaster complexion, raised head and upward gaze, is framed against a neutral, dark brown background, in keeping with the tradition of the Bolognese school. The soft chiaroscuro, idealized type of beauty and calm expression point to the influence of painting derived from the circle of Guido Reni and his continuators. The final fragment of the signature “…epolo” or “…epelo” is visible in the lower left corner, indicating the artist’s Italian origin. An analysis of the style and the way the figure is depicted allows dating the work to the 17th-18th century, with a probable place of creation in Emilia-Romagna (Italy). The painting is framed in a Baroque frame carved in wood and painted gold.
1 in stock
Historical context
After the final defeat against the Romans, Mark Antony, mistakenly thinking Cleopatra was already dead, decided to take his own life and pierced himself with a sword. Despite his severe wound, he was still alive and, according to Plutarch, was carried to the queen's mausoleum, where he died in her presence after a brief farewell. Faced with his death and her own impending humiliation, Cleopatra also chose suicide, allowing herself to be bitten by a venomous snake in order to preserve her royal dignity and control over her fate.
Artistic qualities
The painting represents the tradition of the Bologna (Emilia-Romagna) school, one of the most important centers of Italian painting of the 17th and 18th centuries, originating in the circle of Guido Reni and continued by artists such as Cesare and Benedetto Gennari, Elisabetta Sirani, Donato Creti and Domenico Maria Canuti. Characteristic of this milieu are the idealized, pale complexion of the models, softly guided chiaroscuro, calm expressions and elegant half-figure shots - elements also clearly present in the depiction of Cleopatra's death. This motif, based on Reni's widespread compositional pattern, was often taken up by Bolognese disciples and imitators in the 18th century. A set of formal features, such as a neutral background, subtle modeling and iconography devoid of royal insignia, allows us to associate the painting with Emilia/Bologna and date it to the period around 1700-1760, in the circle of late continuators of Reni's aesthetic.
Collector's value
On the Polish art market, depictions of Cleopatra inspired by the Bolognese school appear extremely rarely. Compositions maintained in this tradition, with the characteristic motif of a snake at the breast, are among the hardly available examples of Baroque painting in Poland. Limited supply and a recognizable, iconographically attractive subject make paintings of this type of high collector value and sought after by lovers of early art.
Application
The painting with such a distinctive baroque style will be perfect for classic, elegant interiors. Thanks to its atmospheric color palette and clear, character-centered composition, it can be a striking decorative accent in representative spaces, such as a living room, study or library. Its aesthetics also make it blend well with eclectic arrangements and interiors combining modern and classical elements. It will ideally complement a collection of ancient art, especially those related to Italian painting and ancient iconography.
The way the snake is depicted
Here, the snake's head looks more like that of a small rodent, with clearly marked "ears," which illustrates well the freedom in depicting animals characteristic of the Renaissance and Baroque. Artists often relied on depictions or descriptions without direct contact with their actual appearance, so similar simplifications and anatomical inaccuracies appeared in the iconography of that period.
| Weight | 2,15 kg |
|---|---|
| Dimensions | 25 × 30 cm |
| Type |
Image |
| Form |
Portrait of a woman |
| State of preservation |
Very good, after maintenance |
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