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Two drawings taking up the theme of the painting are attributed to Poussin. One is kept in the British Museum. [5] Although very damaged, it already presents the main lines of the painting with a few variations: the soldier in the center does not extend his hand to the sky but holds the hand of Germanicus, thus remaining closer to the text of ...
The work of art depicted in this image and the reproduction thereof are in the public domain worldwide. The reproduction is part of a collection of reproductions compiled by The Yorck Project . The compilation copyright is held by Zenodot Verlagsgesellschaft mbH and licensed under the GNU Free Documentation License .
Nicolas Poussin (UK: / ˈ p uː s æ̃ /, US: / p uː ˈ s æ̃ /, [1] [2] French: [nikɔla pusɛ̃]; June 1594 – 19 November 1665) was a French painter who was a leading painter of the classical French Baroque style, although he spent most of his working life in Rome.
The Wife of Arminius Brought Captive to Germanicus is a 1773 history painting by the Anglo-American artist Benjamin West. [ 1 ] [ 2 ] It depicts a scene from the Roman Empire 's military campaign in Germania in the early first century , loosely based on the writings of the historian Tacitus .
Yale University Art Gallery, New Haven [74] When Rome had received word of Germanicus' death, the people began observing a iustitium before the Senate had officially declared it. Tacitus says this shows the true grief that the people of Rome felt, and this also shows that by this time the people already knew the proper way to commemorate dead ...
This classicising tendency went on to make an inestimable impact on Western art, influencing many of the greatest painters of subsequent generations, from Jacques-Louis David and Ingres to Cézanne and Picasso; even today artists continue to be inspired by Poussin’s work and ideas about painting. In treating themes of death and dying, Poussin ...
Agrippina was a renowned model of noble grief in eighteenth-century neoclassical art. Conventions changed going into the Victorian period, however, with more expressive renderings of grief coming into vogue than that established by West. [9] The painting was later gifted to Yale University Art Gallery by Louis M. Rabinowitz where it remains ...
The series was also a popular subject for paintings, of which there have been examples by Titian, [36] Peter Paul Rubens, [37] Otto van Veen, [38] and many others. Several 19th-century French artists pictured the violent end of Vitellius.