Cimon and Pero (Roman Charity)
Peter Paul Rubens·1630
Historical Context
Rubens painted Cimon and Pero (Roman Charity) around 1630, another treatment of the classical story of a daughter breastfeeding her imprisoned, starving father. The subject, drawn from Valerius Maximus, was popular in Baroque art as an example of supreme filial devotion. Rubens's late treatment, with its warm palette and psychologically complex characterization, adds a new tenderness to the disturbing subject. Now in the Rijksmuseum, the painting demonstrates Rubens's ability to revisit subjects from his earlier career with deepened understanding.
Technical Analysis
The composition focuses tightly on the two figures in the prison setting, with dramatic chiaroscuro creating an atmosphere of secrecy and urgency. Rubens' contrasting flesh tones between the young woman and the aged prisoner emphasize the generational relationship.
Look Closer
- ◆Pero breastfeeds her imprisoned, starving father Cimon — the Roman Charity theme that celebrates filial devotion as the supreme virtue
- ◆Cimon's gaunt, aged body contrasts with his daughter's youthful vitality, emphasizing the reversal of the nurturing relationship
- ◆Prison bars and chains establish the setting, the iron constraints making Pero's act of mercy all the more remarkable
- ◆Rubens treats this potentially sensational subject with dignity, focusing on the emotional bond rather than titillation
Condition & Conservation
This version of the Roman Charity from 1630 has been conserved with standard treatments. The canvas has been relined. The intimate two-figure composition has been well-preserved, with the contrast between the aged and youthful bodies maintained through careful cleaning.
