The obscurity of Cortona's subject is reflected in the confusion over the painting's title, for example in Robert Strange's engraving it is described as 'Caesar putting away Pompeia, receives Calpurnia as his Wife', BM impression V,9.18). 218) but was dropped, except for the swagged curtain, in the final work in favour of an exterior setting with a circular temple beyond. This arrangement was retained in Cortona's more finished drawing for the painting in the Uffizi (14007 Briganti 1982, pl. The setting of the scene is swiftly described in black chalk consisting of an interior with a columned colonnade in the background and a curtain in the upper right corner. ![]() At this stage the painter placed Cleopatra's deposed half-sister Arsinoë being led out on the left, while in the painting she is given a more prominent position to the right of the throne. The present drawing is an early study for the Lyon painting and although it differs in many details from the final composition, Cortona retained with only minor modification the poses of the two central protagonists, with Cleopatra shown climbing the stairs to the dais and the laurel garlanded Caesar gesturing to the crown and sceptre on the lion-decorated throne. cat., Paris, Galeries nationales du Grand Palais and Milan, Palazzo Reale, 'Seicento: le siècle de Caravage dans les collections française', 1988, pp. For the patron and the commissions see C. He also acquired Guido Reni's 'Abduction of Helen' (Louvre), a work ordered by Philip IV of Spain. La Vrillière was a pioneering French patron of contemporary Italian Baroque painting with ten mythological works ordered over an extended period from the mid-1630s onwards from Cortona, Guercino, Poussin (a French painter but resident in Rome), Turchi and Maratta for his 50-metre long gallery with ceiling decorations by François Perrier. The building survives to this day as the Banque de France but the paintings were dispersed to various French museums after they were removed during the French Revolution (copies are in situ to give an impression of the gallery's original appearance). This is one of three paintings commissioned from the Tuscan painter by Louis Phélypeaux de La Vrillière (1598-1681), a secretary of state for Louis XIII and XIV, for the gallery of his grandiose Parisian townhouse, Hôtel de La Vrillière, designed by the young François Mansart. ![]() Briganti, 'Pietro da Cortona o della pittura barocca', Florence, 1982, no. This was sold as a work by a follower of Pietro da Cortona, but it is an autograph study by the artist for his painting 'Caesar restoring Cleopatra to the throne of Egypt' c. Curator's comments Watermark: praying man in a shield
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