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Ave Caesar! Morituri te salutant, by Jean-Léon Gérôme (1859), adapts the phrase to describe gladiators greeting the emperor Vitellius. Avē Imperātor, moritūrī tē salūtant ("Hail, Emperor, those who are about to die salute you") is a well-known Latin phrase quoted in Suetonius, De vita Caesarum ("The Life of the Caesars", or "The Twelve Caesars"). [1]
Ave Caesar! Morituri te Salutant, 1859, Yale University Art Gallery. In 1858, he helped to decorate the Paris house of Prince Napoléon Joseph Charles Paul Bonaparte in the Pompeian style. The prince had bought his Greek Interior (1850), a depiction of a brothel also in the Pompeian manner. [citation needed] In Ave Caesar!
The imperial oath is seen in other paintings, such as Jean-Léon Gérôme's Ave Caesar! Morituri te salutant (Hail, Caesar, those who are about to die salute you) of 1859. In this painting, the gladiators are all raising their right or left arms, holding tridents and other weapons. [19]
The official position taken by the Wikimedia Foundation is that "faithful reproductions of two-dimensional public domain works of art are public domain".This photographic reproduction is therefore also considered to be in the public domain in the United States.
Those About to Die’s title comes from the famous Latin phrase "Ave, Imperator: Morituri te salutant,” which translates to “Hail, Emperor, those who are about to die salute you." This phrase ...
The most iconic of Roman spectacles, the gladiatorial spectacle, depicted here in the Ave, Caesar, morituri te salutant addressed by the gladiators to Vitellius in front of the jubilant crowds in Rome (painting by Jean-Léon Gérôme, 1859)
By urging the viewer to discover beauty in a painting's formal values, its colors, proportions, and surface, Trübner advanced a philosophy of "art for art's sake". In 1901 he joined the recently formed Berlin Secession , [ 6 ] at the time Germany's most important forum for the exhibition of avant-garde art.
Morituri te Salutant) had a strong influence on the visual portrayal of the ancient world by later filmmakers, beginning with silent movies. The painting was a catalyst for director Ridley Scott ; when the producers of Gladiator showed him a reproduction of the painting before he read the script, Scott recalls, "That image spoke to me of the ...