Aurora was painted by Giovanni Battista Pasqualini in 1650.

Where can I see Aurora?

Aurora is held by Victoria and Albert Museum.

Artwork

Aurora

Aurora is a print by Giovanni Battista Pasqualini. It dates from 1650 and is held in the collection of the Victoria and Albert Museum.

About this work

Overview

Giovanni Battista Pasqualini’s print titled *Aurora* reproduces a composition originally executed as a fresco by Guido Reni in the Rospigliosi Palace. Executed on paper, the work translates a large wall painting into a portable graphic format, preserving the dramatic narrative of the original.

Subject & Meaning

The image portrays a tumultuous celestial scene populated by mythological figures. A winged figure on the left brandishes a torch, while a horse rears beneath, guided by nude women who pull its reins; another woman rides the animal. Above, two cherubic figures hover amid swirling clouds, suggesting a dynamic, perhaps allegorical, celebration of dawn or divine intervention.

Technique & Style

Pasqualini employs a printmaking technique that emphasizes strong chiaroscuro, creating stark contrasts between illuminated forms and deep shadows. This approach mirrors Reni’s baroque sensibility, highlighting the muscular tension of the figures and the atmospheric turbulence of the sky.

History & Provenance

The source fresco by Guido Reni was commissioned for the Rospigliosi Palace, a notable 17th‑century aristocratic residence. Pasqualini’s print, produced shortly after the fresco’s completion, served to disseminate the composition beyond its architectural setting, allowing broader circulation among collectors and scholars.

Context

Reni’s original fresco belongs to a period when Italian baroque artists frequently depicted mythological allegories to adorn palatial interiors. The choice of a sunrise motif aligns with contemporary interests in portraying the triumph of light over darkness, a theme resonant in both religious and secular art of the era.

Legacy

By rendering Reni’s fresco as a print, Pasqualini contributed to the early modern practice of reproducing monumental works for study and appreciation. The print remains a valuable reference for scholars examining the transmission of baroque visual ideas across media.