Workshop of Francesco Cairo, Queen Artemisia, 1670, Oil on Canvas

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Description

Francesco cairo (milan 1607 - 1665) workshop of

queen artemisia with a cupid

oil on canvas
129 x 109 cm … Read more Francesco cairo (milan 1607 - 1665) workshop of

queen artemisia with a cupid

oil on canvas
129 x 109 cm - framed 143 x 125 cm.

reference literature: francesco cairo 1607-1665. - exhibition catalog. - publisher: bramante editore- edizioni lativa, varese, 1983 (pp. 241-249, nos. 55, 63, 70, 110, 179, 183)

the extraordinary expressive force and theatricality typical of 17th-century lombard baroque painting are expressed in all their intensity in this splendid painting, which depicts the greek ruler artemisia ii of caria, the devoted wife and sister of king mausolus (352 bc).

ancient historiography narrates that, after 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 departed 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 small cupid is depicted here beside her, trying to distract her from her melancholy thoughts.

the young woman, extremely captivating, dominates the scene with her regal figure, portrayed in regal robes and accessories as she gazes directly at the viewer, preparing to embrace the precious urn and 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 'exempla virtutis' (models of moral and stoic virtue, which also included other female figures such as lucretia, cleopatra, and judith), in which women embody a tragic and earthly dimension, distancing themselves from 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 favorite theme of italian baroque painting, this canvas offers a dramatic yet intimate interpretation, conducted with the scenic skill of a painter who became "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, housed at the pinacoteca malaspina (civic museums of the visconti castle in pavia), originally from the prestigious carlo giuseppe di firmian collection in milan.

it is considered the original by francesco cairo (dated circa 1648-1650), later replicated, with the help of his workshop, in numerous versions.

as indicated in the catalog 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 catalog, or no. 70, which is larger and supposed to correspond to the "proof" 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 attributed to a painter from the workshop who adapted 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 hark back to the baroque genoa of rubens and van dyck, while the dense, synthetic brushstrokes recall the influence of titian and veronese, combined with the caravaggesque opulence typical of the 17th century.

francesco cairo, also known as cavalier cairo (milan, 1607 - 1665), was an important 17th-century italian painter. Trained under the influence of morazzone, he distinguished himself with a dramatic style imbued with chiaroscuro and strong pathos.

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

additional information:

the painting is beautifully framed and comes with a certificate of authenticity and a descriptive iconographic sheet. This piece is attributed to the mentioned designer/maker. It has no attribution mark and no
official proof of authenticity,
however it is well documented in design history. I take full responsibility for any authenticity



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