A Queen's Picture

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Anthony van Dyck, Portrait of Henrietta Maria, (1635 or 1636), Royal Collection, 1638, Royal Collection, Windsor Castle
Restoration works have verified the presence of the original canvas selvedges, revealing that when the large painting was cut into pieces, it was carefully done along the seams of the fabric panels (probably five) of which the picture was originally composed. According to a letter of November 21, 1637, Guido himself had designed the painting so that the figures were placed on the parts of the canvas where there were no seams. It is wholly thanks to this technique that fragments derived from the large painting could be sold as autonomous paintings, with few adjustments. The present painting is one such large fragment of the original, like the Ariadne and Cupid [fig. 4], identified in 2002 by Sir Denis Mahon and Andrea Emiliani and accepted as autograph following its purchase by the Fondazione del Monte, now in the Pinacoteca Nazionale di Bologna. 7 Compared to 7 S. Guarino, Il quadro della regina: la storia delle Nozze di Bacco e Arianna di Guido Reni in L’Arianna di Guido Reni (exhibition catalogue), Milan, 2002, pp. 15; S. Guarino in Pinacoteca Nazionale di Bologna, Catalogo Generale, (edition J. Bentini, G.P. Cammarota, A. Massa,D. Scagliertti Kelescian, A. Stanzani), Venice, 2009, p. 76, no. 36.
Page 1 and 2: A Queen’s Picture MORETTI
Page 3 and 4: A Queen’s Picture Guido Reni and
Page 6 and 7: ‘ The truth is I do not think tha
Page 8 and 9: fig. 1 Giovanni Battista Bolognini,
Page 10 and 11: ‘ Charles I amassed a collection
Page 12 and 13: The commission took on notable impo
Page 14 and 15: This plan was preceded by the arriv
Page 16 and 17: ‘ So that she might shine among t
Page 18 and 19: These works focus all attention on
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Page 24 and 25: the painting in Bologna, which reve
Page 26 and 27: Guido Reni Bologna, 4 November 1575
Page 28: text by Elise Midelfart edited by P

A Queen's Picture

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