45 - Giovanni Battista Pittoni (Venice, 1687–1767)

Giovanni Battista Pittoni (Venice, 1687–1767) "The Meeting between Alexander the Great and Roxana" Oil on canvas 31 x 54 cm. With a loose and fluid brushstroke characteristic of the Rococo style, rendered in delicate tones full of light, this magnificent and elegant work by the Venetian artist Giovanni Battista Pittoni depicts a scene from the life of Alexander the Great, portraying one of his romantic encounters. Giovanni Battista Pittoni (GBP) was one of the most distinguished Rococo painters of his time, known for his elegant compositions and vibrant colors. Although he produced various works on the life of Alexander the Great, *The Meeting between Alexander the Great and Roxana* stands out among his historical and mythological subjects, which often focused on episodes of love and magnanimity associated with the conqueror. The painting depicts the romantic encounter between Alexander the Great and Roxana, a Bactrian princess who became his wife. Pittoni captures this moment with a theatrical and romantic tone typical of 18th-century style. The work is inspired by ancient accounts describing Alexander the Great’s first entry into Babylon in 331 BC, following his victory over the Persian king Darius III. Alexander is welcomed with celebrations and hospitality, not as an invader but as a liberator. Roxana, known in Bactrian as Roshanak, meaning “little shining star,” was the conqueror’s wife. She was a Sogdian or Bactrian princess (from Central Asia) whom Alexander married after defeating Darius III, ruler of the Achaemenid Empire, and invading Persia. She was born before 347 BC, although the exact date remains uncertain, and was executed in 309 BC on the orders of Cassander. In this small-scale painting, Roxana appears completely devoted to her future husband, accompanied by her retinue of servants and bearing gifts and her dowry. She kneels before her beloved, who is depicted on horseback, dressed in ceremonial attire atop his finest steed, and followed by his troops and generals. Behind her, a pair of Bactrian camels (Camelus bactrianus) stand out—large domestic ungulates native to the steppes of Central Asia, whose name derives from the ancient historical region of Bactria (a territory that today corresponds to parts of northern Afghanistan, southern Uzbekistan, and Tajikistan). Set against a clean, rocky background that is soft, idyllic, and imbued with a sense of romance, the painting is characterized by the use of light colors, a luminous atmosphere, stylized figures, and a fluid, elegant composition. This type of painting was often part of series commissioned by European monarchs to decorate palaces (such as those commissioned in 1736 by King Philip V of Spain for the New Gallery of the Royal Palace of La Granja de San Ildefonso), highlighting the life of the Macedonian leader as an example of virtue and power. Pittoni portrays this moment of triumph, acclaim, and a gentle wedding with great elegance and mastery. Provenance: Christie’s auction, New York. Sale of July 13, 1962, Lot 33.