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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 following other wikis use this file: Usage on als.wikipedia.org Nicolas Poussin; Usage on el.wikipedia.org Γερμανικός; Usage on es.wikipedia.org
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 .
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.
Germanicus (15 B.C.-A.D. 19) was a successful general and immensely popular with both the military and Roman citizenry, yet he never ascended the throne due to his death at the age of 33, five years into Tiberius' reign. Germanicus received extensive posthumous honors and was venerated as Rome's version of Alexander the Great.
As a famous general, he was widely popular and regarded as the ideal Roman long after his death. [1] To the Roman people, Germanicus was the Roman equivalent of Alexander the Great due to the nature of his death at a young age, his virtuous character, his dashing physique, and his military renown. [2]
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 ...