Lotus de Païni

Empress of Byzantium from 527-548, Theodora was one of the most powerful women in the empire's history. By and large, it was ancient scholar Procopius who recorded Theodora’s life in three texts: the History of the Wars of Justinian, De Aedificiis, and Anekdota  (or The Secret History).  Theodora’s fame began as an actress (and therefore most likely also a prostitute) and she was celebrated for her nude performances and for hosting sensational parties after the day’s theatrics.  After adopting the beliefs of Monophysitism (an ancient form of Christianity purporting that Jesus was wholly divine), she gave up her former life, and became a wool-spinner living near the emperor Justinian’s palace in Constantinople (now Istanbul).  Despite her humble transformation, Theodora drew Justinian’s attention, eventually becoming his mistress and then his wife, credited as an intellectual and political equal to her husband.  Indeed, Theodora drove many of the groundbreaking decisions of the empire, and was recognized as a great reformer in expanding the legal rights of women.  She closed a number of Byzantium’s brothels and established convents where prostitutes could independently support themselves.  Together with Justinian, she advanced the physical makeup of the empire, expanding a network of aqueducts, bridges, roads, and building churches—the most magnificent of which is the Hagia Sophia.

Theodora is frequently represented in ancient artwork, most notably the elaborate mosaics still visible in the church of San Vitale at Ravenna in northern Italy.  These mosaics portray her as a powerful figure with an air of noble strength.  Such character is emulated in the present portrait, painted by the Baronne Lotus de Païni (also known as Péralté Lotus, born Gazzotti Elvezia).  De Païni debuted at the Paris Salon of 1888, and in the decade following became known for her portraits of powerful women such as Carmen Sylva, Queen of Romania and Madame La Comtesse Torinelli, the ambassadress to Paris.  Thus a fitting choice of subject for the artist, Theodora, in the present work, sits imposingly on her throne, looking confidently out at the viewer.  Unlike many painters of historical genre, de Païni focuses less on costume or elaborate decoration, paying more attention to posture and composition.  Although a heavy gold necklace and headband suggest her wealth and nobility, Theodora’s imposing stance, her hand casually placed over the throne’s arm, ultimately demonstrate her impressive power. Further, drawing inspiration from the mystical and literary records of Theodora’s life, the painting portends de Païni’s future work as a writer interested in the role of women in folklore, mythology, spirituality and the occult.  De Païni's written work, notably her esoteric La magie et le mystère de la femme (1928), which revealed connections between one’s inner and external life, would inspire generations of surrealist artists and writers, most notably André Breton.