Giovanni Francesco Barbieri known as il Guercino (1591–1666)(1591 – 1666), The dying Cleopatra, c.1648, Oil on canvas, 173×237 cm, Palazzo Rosso, Genoa
Known in his youth for dramatic chiaroscuro and emotionally charged figures, Guercino evolved towards a more classicist, idealised approach after moving to Bologna and following the death of Guido Reni in 1642. This stylistic shift reflected his ambition to appeal to patrons favouring the polished, restrained aesthetic of the Bolognese school, renowned for its harmonious compositions, softened chromatic choices, and a sense of serene grandeur.
In this painting, Cleopatra’s death is portrayed with both elegance and restraint. Guercino reduces his palette to two primary tones: the pale, alabaster white of Cleopatra’s skin and bedding and the deep, regal purples of the drapery and cushions. The arrangement resembles a theatrical stage, with the curtain draped like a ‘wall,’ heightening the solemnity of the scene. This approach imbues Cleopatra’s death with a sense of tragic nobility.
Reclining languidly, Cleopatra embodies sensuality even in her final moments, as she succumbs to the bite of the asp. The wound on her breast reveals only two tiny ruby drops of blood, symbolising both her defiance and control over her fate. Reflecting Plutarch’s accounts and the iconography of Cleopatra’s self-inflicted death, the snake signifies royal authority and chosen destiny—an act that preserves her sovereignty by avoiding capture and degradation.
This composition is monumental yet refined, with Cleopatra’s serene expression and muted colour scheme reinforcing the stoic dignity of her final act. The theatrical yet dignified presentation of Cleopatra’s death scene marks this work as a signature piece from Guercino’s late period, characterised by restrained emotionality, softened colours, and a timeless idealisation that distances it from his earlier nocturne scenes.