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Poussin is probably the first painter in history to examine this subject. This episode in the of ancient Rome is taken from the Annals of Tacitus.It describes the military successes of the Roman general Germanicus, elder brother of Claudius, in the service of the Emperor Tiberius, especially against the Germans, which earned him his nickname.
The painting was commissioned on February 5, 1628, by the Fabric of Saint Peter, to adorn the altar dedicated to Erasmus of Formia in St. Peter's Basilica. More precisely, it was to be located to the left of the north transept, near the Martyrdom of Saint Processus and Saint Martinian by Valentin de Boulogne (1629). [2]
Death of Germanicus (1773–1774), a marble sculpture by British sculptor Thomas Banks. [97] Thusnelda im Triumphzug des Germanicus (1873), a painting by German painter Karl von Piloty. [56] I, Claudius (1934), a historical fiction novel by classicist Robert Graves. [98] The Caesars (1968), a British television series by Philip Mackie.
1626–1627 c. (or c. 1628 ?) 98 x 73,5 cm: Originally used for Bacchus-Erigone, then painted over by Poussin with a Bacchus-Apollo. Much later repainting, to cover the figures' genitalia. Stockholm, Nationalmuseum: 53/135 Bacchic scene or Nymph and satyr drinking: 1626–1628: 74 x 60 cm: Copy of the Moscow painting considered to be by Poussin ...
Poussin – The Death of Germanicus. Nicolas Poussin – The Death of Germanicus; Rembrandt – Rembrandt's Mother: Bust (etching) Francisco de Zurbarán – Saint Serapion; Cornelis van Haarlem – The Judgement of Paris (approximate date) Anthony van Dyck. Nicolas Lanier; The Shepherd Paris (approximate date)
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.
Today, the sobriety and control of Poussin's paintings can seem difficult, or remote, to audiences. But in Extreme Unction subject and style are so perfectly aligned that Poussin's stark, lyrical, line, and controlled play of light and shadow bring out the full depth of emotion that marks this momentous scene.
The composition of eight figures, representing the Virgin Mary, clothed in red vest and a blue mantle, seated on the viewer's left, bending and holding the Christ child on her knee, while he places a ring on the finger of Saint Catherine: behind is an angel bearing a sword, the instrument of her martyrdom; and on the right are two other angels witnessing the mystical union of Jesus and the Saint.