The Death Of Julius Caesar In The Roman Senate Engraving

The Death Of Julius Caesar In The Roman Senate Engraving by British Engraver James Charles Armytage (1802 – 1897); after a painting by French Painter Jean-Léon Gérôme (1824 – 1904). James is known to have created over 200 engravings during his career.

The Death Of Julius Caesar In The Roman Senate is a dramatic and powerful scene that depicts the events of that faithful day on March 15, 44 B.C. in Roman History; when in the Roman Senate House, Julius Caesar is murdered by 60 conspirators that, led by Marcus Junius Brutus and Gaius Cassius Longinus.

The assassins involved in Caesar’s death have all gathered together cheering his murder, as they flail their swords in the air after stabbing and hacking him to death; while in the background we see many of the other senators of the Roman senate fleeing in fear of their own lives.

With the chair in which Caesar sat toppled over on the steps, we see his bloody body laying on the floor and a trail of his blood being carried on the sandals of his gleeful murders.

The Death Of Julius Caesar In The Roman Senate Engraving is a retouched digital art reproduction of a public domain image.

Below Info Derived From Wikipedia

Jean-Léon Gérôme (11 May 1824 – 10 January 1904) was a French painter and sculptor in the style now known as academicism. His paintings were so widely reproduced that he was “arguably the world’s most famous living artist by 1880.”[1] The range of his oeuvre included historical painting, Greek mythology, Orientalism, portraits, and other subjects, bringing the academic painting tradition to an artistic climax. He is considered one of the most important painters from this academic period.

In 1840 he went to Paris, where he studied under Paul Delaroche, whom he accompanied to Italy in 1843. He visited Florence, Rome, the Vatican and Pompeii. On his return to Paris in 1844, like many students of Delaroche, he joined the atelier of Charles Gleyre and studied there for a brief time. He then attended the École des Beaux-Arts. In 1846 he tried to enter the prestigious Prix de Rome, but failed in the final stage because his figure drawing was inadequate.

The Death Of Julius Caesar In The Roman Senate Engraving Decorative Throw Pillow Art Print

His painting The Cock Fight (1846) is an academic exercise depicting a nude young man and a very thinly draped young woman with two fighting cocks, with the Bay of Naples in the background. He sent this painting to the Paris Salon of 1847, where it gained him a third-class medal. This work was seen as the epitome of the Neo-Grec movement that had formed out of Gleyre’s studio (including Henri-Pierre Picou and Jean-Louis Hamon), and was championed by the influential French critic Théophile Gautier, whose review made Gérôme famous and effectively launched his career.

Gérôme abandoned his dream of winning the Prix de Rome and took advantage of his sudden success. His paintings The Virgin, the Infant Jesus and Saint John and Anacreon, Bacchus and Eros took a second-class medal at the Paris Salon in 1848. In 1849, he produced the paintings Michelangelo (also called In his Studio) and A Portrait of a Lady.

In 1851, he decorated a vase later offered by Emperor Napoleon III of France to Prince Albert, now part of the Royal Collection at St. James’s Palace, London. He exhibited Greek Interior, Souvenir d’Italie, Bacchus and Love, Drunk in 1851; Paestum in 1852; and An Idyll in 1853

In 1852, Gérôme received a commission to paint a large mural of an allegorical subject of his choosing. The Age of Augustus, the Birth of Christ, which would combine the birth of Christ with conquered nations paying homage to Augustus, may have been intended to flatter Napoleon III, whose government commissioned the mural and who was identified as a “new Augustus.

In 1854, he completed another important commission, decorating the Chapel of St. Jerome in the church of St. Séverin in Paris. His Last Communion of St. Jerome in this chapel reflects the influence of the school of Ingres on his religious works; and in 1855 he contributed Pifferaro, Shepherd, and The Age of Augustus, the Birth of Christ, to the Universal Exhibition; but it was the modest painting Recreation in a Russian Camp that garnered the most attention .