Queen Artemisia with cupid, Francesco Cairo (Milan 1607 – 1665) workshop of

Francesco Cairo (Milan 1607 – 1665) workshop of

Queen Artemisia with cupid

Oil painting on canvas
cm. 129 x 109 cm – Framed 143 x 125cm.

Reference bibliography: Francesco Cairo 1607-1665. – Exhibition catalogue. – Publisher: Bramante Editore- Edizioni Lativa, Varese, 1983 (pp. 241-249, nn. 55, 63, 70, 110, 179, 183)

FULL DETAILS OF THE PAINTING (CLICK HERE)

The extraordinary characteristics of expressive force and theatricality typical of seventeenth-century Lombard Baroque painting are expressed in all their intensity in this splendid painting, which depicts the Greek sovereign Artemisia II of Caria, devoted wife and at the same time sister of King Mausolus (352 BC).

Ancient historiography narrates that, upon her husband's death, she conspicuously wielded power over the kingdom for several years, honoring her husband with the construction of the legendary Mausoleum at Halicarnassus, one of the Seven Wonders of the ancient world. According to myth, the queen decided to become the human tomb of her husband, swallowing his ashes so that he could live on within her, as a final gesture of love, a sort of allegory of eternal marital love.

A little Cupid is portrayed here at her side, trying to distract her from her melancholy thoughts.

The young woman, extremely fascinating, dominates the scene with her regal figure, portrayed with royal clothes and accessories as she turns her gaze directly towards the viewer, and prepares to embrace the precious urn and the cup, which will become your identifying attributes.

Thanks to this extreme act, the heroine was represented in Baroque iconography as a model of marital fidelity and virtuous behavior: Artemisia fits into the thematic trend of the 'exempla virtutis' (models of moral and stoic virtue, which also includes other female figures such as Lucretia, Cleopatra or Judith), in which women embody a tragic and earthly dimension, distancing themselves from the classical and idealized academic beauty.

Furthermore, in seventeenth-century painting, stories of female heroism became a pretext for the sensual representation of the body, insinuating an erotic reading alongside the moral one offered by the theme. These women, always beautiful, were often depicted in ambiguous poses, as was then fashionable and delighted patrons.

A favourite theme of Italian Baroque painting, this canvas offers a dramatic yet intimate interpretation, conducted with the scenic skill of a painter who becomes a “skilled director of human sentimental drama”.

Our beautifully crafted canvas is based on the famous 'Artemisia with Cupid' by the 17th-century painter Francesco Cairo, preserved at the Pinacoteca Malaspina (Civic Museums of the Visconti Castle in Pavia), originally from the prestigious Milanese collection of Carlo Giuseppe di Firmian.

It is considered the original draft by Francesco Cairo (dating back to around 1648-1650) and then replicated, also with the help of his workshop, in numerous versions.

As indicated in the catalogue of the art exhibition dedicated to the artist Francesco Cairo (Francesco Cairo 1607-1665. Exhibition Catalogue. Publisher: Bramante Editore- Edizioni Lativa, Varese, 1983), there are six versions that differ from each other by small variations (pp. 241-249, nos. 55, 63, 70, 110, 179, 183), such as the absence of the cupid in no. 110 of the catalogue, or no. 70, of larger dimensions, which should correspond to the 'proof print' of the original prototype that remained in the painter's studio.

The painting we propose, which does not correspond to any of the six versions mentioned above, is a further variant of the subject which, due to the quality of its execution, psychological intensity and period, can, in our opinion, easily be traced back to an artist from the workshop who took up the original prototype with insignificant variations.

Every detail of the composition reflects Cairo's poetics, with a style that blends Venetian and Flemish influences: the queen's sensuality and sumptuousness look towards the Baroque Genoa of Rubens and Van Dyck, while the dense, synthetic brushstroke recalls the lessons of Titian and Veronese, combined with the Caravaggesque opulence typical of the seventeenth century.

Francesco Cairo, also known as Cavalier Cairo (Milan, 1607 – 1665), was an important Italian painter of the seventeenth century. Trained under the influence of Morazzone, he stood out for his dramatic style, imbued with chiaroscuro and a strong pathos.

This composition in particular is undoubtedly one of the highlights of his bedroom production, with that red, jagged, and textured drapery that envelops the woman's opulent form, the almost brazen amplitude of the pose and the winking cupid.

ADDITIONAL INFORMATION:

The painting comes with a nice frame and is accompanied by a certificate of authenticity and a descriptive iconographic sheet.

We take care of and organize the transport of the purchased works, both for Italy and abroad, through professional and insured carriers.

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