Who painted Carro di Cerere (Chariot of Ceres)?

Carro di Cerere (Chariot of Ceres) was painted by Pietro de Angelis in 1765.

Where can I see Carro di Cerere (Chariot of Ceres)?

Carro di Cerere (Chariot of Ceres) is held by National Gallery of Art.

What movement is Carro di Cerere (Chariot of Ceres)?

Carro di Cerere (Chariot of Ceres) is associated with Baroque.

Artwork

Carro di Cerere (Chariot of Ceres)

Pietro de Angelis , 1765

Carro di Cerere (Chariot of Ceres) is an ink drawing by the Baroque artist Pietro de Angelis. It dates from 1765 and is held in the collection of the National Gallery of Art.

About this work

Overview

Carro di Cerere, executed in 1765, is a drawing on laid paper by the Italian artist Pietro de Angelis. Rendered with pen and black ink, enhanced by gray wash and watercolor, the work depicts a mythological scene in a compact, intimate format. Its delicate tonal range and precise line work exemplify de Angelis’s approach to narrative drawing during the mid‑eighteenth century.

Subject & Meaning

The composition centers on the Roman goddess Ceres seated in an ornate chariot, drawn by a pair of lions. The choice of lions—traditionally symbols of strength—contrasts with the heavy, richly detailed cart, suggesting the effortless power of the divine harvest deity. The scene reflects the period’s fascination with classical mythology as an allegory for abundance and natural order.

Technique & Style

De Angelis combines fine pen work with a subtle gray wash and watercolor accents, creating a soft, luminous surface that hints at atmospheric depth. The ink outlines define the figures and cart, while the watercolor adds a gentle glow to the lions’ fur and the surrounding space. The use of laid paper contributes a textured background that enhances the drawing’s tactile quality.

Context

Pietro de Angelis frequently explored mythological subjects, employing a mixed media approach that blended ink precision with watercolor’s fluidity. This drawing aligns with the broader eighteenth‑century Italian tradition of academic drawing, where artists used preparatory sketches to study composition, anatomy, and narrative before undertaking larger oil paintings or frescoes.