The Chariot of Aurora
Artist/Maker
Material / Technique
Dimensionsh x w: Mått 40 x 57,5 cm
Inventory numberNM 7226
AcqusitionTransferred 2014 from Kongl. Museum
Other titlesTitle (sv): Aurora Title (en): The Chariot of Aurora Previous: Aurora
DescriptionCatalogue raisonné: Description in Italian Paintings: Three Centuries of Collecting, Nationalmuseum, Stockholm, 2015, cat.no. 32: FORMER INV. NOS.: 209 (M. 1804); KM 866. TECHNICAL NOTES: Inscriptions verso: “209”; paper labels: “C. Cignani. Carro del Aurora. Mart. 209”; “KM 866 Cignani Aurora, på sin char”. PROVENANCE: Martelli 1804. BIBLIOGRAPHY: Sander 1872–76, III, p. 111, no. 209 (as Cignani); Prytz and Eriksson 2010, p. 81 (as Cignani). In this companion piece to The Chariot of Phoebus (NM 7225, cat. no. 31), Aurora, the goddess of the dawn, is seated on a chariot surrounded by three putti, one of which is holding a torch to light up the late night. Aurora herself is distributing flowers from her chariot. The composition is very similar to that of NM 7225, but in contrast to that painting Aurora wears a blue mantle and the direction of the chariot is reversed. According to Ovid she has a purple mantle that spreads behind her as she rides, and she is said to scatter roses and other flowers as she passes by. Although in this painting Aurora’s mantle is blue, the artist mainly keeps to the myth. The goddess of dawn was represented in the art of ancient Rome, and the subject enjoyed a revival in the work of Bolognese artists such as Guido Reni and Guercino. Like the previous painting, The Chariot of Phoebus, this one also first occurs in the 1804 catalogue and is listed as additional in 1810. It has an original label on the verso with the attribution to Carlo Cignani: “C. Cignani. Carro del Aurora. Mart. 209.” There is also a later label: “Cignani. Aurora, på sin char”.¹ This attribution has never been questioned. And though the painting is no masterpiece, there is no reason to doubt the attribution to Cignani or his circle. Like NM 7225, this small painting may well be a sbozzo for a larger ceiling decoration in Bologna or Rome, and the two works were possibly also used as fixtures in a palace interior.² JE 1 Prytz and Eriksson 2010, p. 81. 2 Ibid [END]
Motif categoryReligion/Mythology
Collection
Geographical origin
TechniquePainting
Object category
Keyword