The girls sporting historic Roman attire have been portrayed by Angelica Kauffman.
What is the imperative subject of Kauffmann's Cornelia?
To the artists of eighteenth-century Europe, it became no longer sufficient to truly paint a stunning picture.
Yes, one might be impressed by your use of colors, proportions, and the masterful way you draped the material around your figures, but this is simply no longer enough.
The tale this represents needs to additionally enhance the viewer and impart a moralizing message. This became a commonplace subject even before the emergence of the Neoclassical trend.
When interest in the historic cultures of the Mediterranean—particularly Rome—rose in the mid-eighteenth century, the moralizing subject expanded to include tales from classical antiquity.
The Swiss-born painter Angelica Kauffmann is simply one artist to make a contribution to this genre. Painted in 1785, Cornelia, Mother of the Gracchi, Pointing to Her Children as Her Treasures, is her subject.
Body girls are portrayed wearing what appears to be typical of historic Roman dress, alongside three children, who are also wearing expertly draped togas with skinny leather-based sandals.
They appear like they could have stepped immediately off a temple’s pediment. The scene that we see in Kauffmann’s play illustrates one such instance of Cornelia’s teachings.
To her vacationer’s chagrin, while she asks Cornelia to expose her treasures, she humbly brings her youngsters forward, in preference to jogging to get her very own earring box.
The message is clear; the most treasured treasures of any female aren't clothed possessions, but the youngsters who're our future.
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