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201:(Cod. Vat. lat. 3867, f 163 recto), which was a subject of interest to Roman cognoscenti. Stripped of the landscape the elements in the picture are similar, though Ascanius has already wounded the stag, and is pulling the bow for a second shot. A scene closer to the Rubens, with the wounded stag finding Silvia, is in the
91:, coming earlier than this one. This was the last of Claude's many harbour scenes. With the Oxford painting hung on the left, the groups of figures in each face inwards, and the main buildings frame the outsides of the pair. Both paintings feature large columns on a classical building, a punning reference to the
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for the future site of Rome. Virgil's account, over 16 lines, spends most of them describing the closeness of the relationship between Sylvia and the stag. The moment shown is one of stillness, as
Ascanius takes aim and the stag, too trusting in its special status, looks at him. Once the arrow is
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In Claude's last years his figures tend to become ever more elongated, a process taken to an extreme in this painting, of which even its owner says "The hunters are impossibly elongated – Ascanius, in particular, is absurdly top-heavy". Its pendant has figures almost as extreme. With the mid-20th
216:(1671 or 1678) and the Ashmolean (1682). The final composition, with the river separating the archer and the stag, was only arrived at late in the process. As in the pendant in Hamburg, and many paintings by Claude, the composition draws the viewer's gaze into the background by having two large
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has long been falling into ruin. On the face of it this, in a scene from before the founding of Rome, is an anachronism that would have been apparent even in the 17th century, but it reflects the state to which ancient Roman monuments were reduced in Claude's own time. The painting therefore
190:, showing a different point in the story. This is also a late work, but the composition could hardly be more different; here Sylvia nurses the dying stag as a female companion keeps the hounds off it, and fighting has broken out behind them between the Latins and Ascanius' party.
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in Rome until 1798/9, when the French occupied Rome, alarming the great families of the nobility. Along with many other top paintings from Roman collections, it was bought by the
English collector, dealer, writer, and curator
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it "at once sums up and goes beyond Claude's previous development. It is utterly personal and yet has that profound, tremulous and remote quality which characterizes the style of other great artists in their old age."
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elements at each side, where one is very close at hand, and the other set much further back. The diagonal from left to right thus set up is balanced by the river, which flows in the opposite direction.
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century fashion for medical diagnosis through art, it was suggested that Claude had developed an optical condition producing such effects, but this has been rejected by doctors and critics alike.
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embraces the whole trajectory of Roman civilization across history, from its start to its end, and peoples an idealized landscape from Claude's time with figures from its early history.
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Although virtually every painting by Claude contains figures, even if only a shepherd, their weakness has always been recognised, not least by Claude himself; according to his biographer
69:, where he made drawings to record his finished works. His date of birth is uncertain, but he was at least in his late seventies when he painted it, perhaps as old as 82. It was a
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sold it at
Christie's in 1919 for £588; by this time prices for Claudes had plunged, allowing for inflation. It was given to the Ashmolean in 1926 by Mrs F. Weldon.
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he had made considerable efforts to improve them, but without success; certainly there are numerous studies, typically for groups of figures, among his drawings.
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Unusually for Claude, the sky is overcast with storm clouds, and the trees are bent by a wind blowing from the left. The elaborate temple in the
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Memoirs of painting, with a chronological history of the importation of pictures by the great masters into
England since the French revolution
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fired the tranquil coastal landscape spreading out behind them will very quickly be disrupted by the war that Virgil goes on to describe.
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Wright, David H. The Roman Vergil and the
Origins of Medieval Book Design. Toronto: University of Toronto Press, 2002." in
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he joked that he charged for his landscapes, but gave the figures for free. According to his other contemporary biographer
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on 16 May 1801 for £462, being from now on separated from its pendant, which fetched £840. It was bought by the banker
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shoots a stag that is the house-reared pet of Silvia, daughter of "Tyrrheus, chief ranger to the Latian king" (
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It was Claude's last painting, and is perhaps not quite finished; it therefore does not appear in the
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Despite the figures, the painting has been one of the most admired of Claude's works. For
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The composition evolved through a series of drawings, beginning in 1669, with two now at
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52:(1637–1689), Claude's most important patron in his last years, and is now in the
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652:. Farnham: Lund Humphries; in association with the Ashmolean Museum, Oxford.
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The
Economics of Taste, Vol I: The Rise and Fall of Picture Prices 1760–1960
44:(Claude Gellée, traditionally just "Claude" in English), a painter from the
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Sonnabend, Martin and
Whiteley, Jon, with Ruemelin, Christian. 2011.
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621:(exhibition catalogue), 1994, National Gallery Publications Ltd,
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who spent his career in Rome. It was painted in Rome for Prince
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The subject is very rare in art, but there is a composition by
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of about 400; curiously, this is the point where the two
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Virgil cycles of illustration come closest to matching.
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Claude may well have been aware of a depiction in the
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Kitson, 31, 50–51; Wine (1994), 103; Waterhouse, 220
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Landscape with
Ascanius Shooting the Stag of Sylvia
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37:
Landscape with
Ascanius Shooting the Stag of Sylvia
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Landscape with
Ascanius Shooting the Stag of Sylvia
758:Landscape with St Paula of Rome Embarking at Ostia
830:Landscape with Psyche Outside the Palace of Cupid
73:to his painting, completed six years earlier,
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294:Once completed, the painting remained in the
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782:Seaport with the Embarkation of Saint Ursula
726:Landscape with the Temptation of St Anthony
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40:is a painting of 1682 in oil on canvas by
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315:, Hampshire, by 1837. It remained in the
790:The Trojan Women Set Fire to their Fleet
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766:Landscape with the Burial of St Serapia
650:Claude Lorrain: The Enchanted Landscape
482:Claude Lorrain: The Enchanted Landscape
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461:Wine (1994), 12–14; Blunt, 275, n. 243
124:'s translation), provoking a war with
806:The Embarkation of the Queen of Sheba
137:View of Carthage with Dido and Aeneas
79:Aeneas's Farewell to Dido in Carthage
75:View of Carthage with Dido and Aeneas
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1816:Ascanius Shooting the Stag of Sylvia
600:, 1961, Barrie and Rockliffe, London
587:(exhibition catalogue, # 38), 1969,
750:Landscape with the Finding of Moses
710:Landscape with St María de Cervelló
170:, Cod. Vat. lat. 3867, f 163 recto
98:The painting depicts a scene from
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1981:Paintings in the Ashmolean Museum
774:Landscape with Tobias and Raphael
734:Landscape with Apollo and Marsyas
814:The Battle of the Milvian Bridge
338:Kitson, 31; Wine (1994), 24, 101
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1996:Paintings based on the Aeneid
1774:Timeo Danaos et dona ferentes
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1937:Political commentary of the
619:Claude: The Poetic Landscape
421:, Indiana University, 2003,
406:, Philadelphia Museum of Art
347:Kitson, 31; Wine (1994), 101
1971:Paintings by Claude Lorrain
1921:Parallels between Virgil's
415:Stansbury, Mark, Review of
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1851:And Then There Was Silence
1614:(1724 libretto Metastasio)
549:Reitlinger, 276; Ashmolean
520:Reitlinger, 39–40, 274–275
403:The Death of Silvia's Stag
281:For the Claude specialist
188:Philadelphia Museum of Art
85:), another scene from the
16:Painting by Claude Lorrain
585:The Art of Claude Lorrain
1742:Fortune favours the bold
617:Wine, Humphrey (1994),
1760:Obscuris vera involvens
1659:Dido, Queen of Carthage
1521:Dido, Queen of Carthage
577:, 2nd edn 1957, Penguin
471:Ashmolean Press summary
311:, and was at his house
265:Lorenzo Onofrio Colonna
155:Subject and composition
50:Lorenzo Onofrio Colonna
1824:Dido building Carthage
1690:Papyrus Oxyrhynchus 31
321:2nd Earl of Northbrook
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319:collection until the
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290:Provenance and prices
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255:Critical appreciation
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178:, with a painting in
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443:Wine (1994), 21, 103
301:William Young Ottley
269:Jacob Ferdinand Voet
245:Joachim von Sandrart
235:The group of hunters
1808:The Dream of Aeneas
1705:Vergilius Vaticanus
1695:Vergilius Augusteus
1587:Achille et Polyxène
1508:history of Britain)
452:Waterhouse, 209–211
419:The Medieval Review
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141:Kunsthalle, Hamburg
83:Kunsthalle, Hamburg
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1635:Didone abbandonata
1627:Didone abbandonata
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1611:Didone abbandonata
1498:Historia Brittonum
1342:Evander of Pallene
822:The Rape of Europa
643:Landscape into Art
612:Enjoying Paintings
594:Reitlinger, Gerald
540:. Nos # 31 and 40.
476:2016-04-17 at the
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106:'s epic poem the
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1267:Achaemenides
1226:Anna Perenna
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81:, 1676, now
78:
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35:
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25:
18:
1875:Aposiopesis
1678:Manuscripts
1667:Les Troyens
1547:(1729 poem)
1544:The Dunciad
1529: 1593
1516:(1160 poem)
1463:The Avenger
1455:Film and TV
1397:Neoptolemus
1214:Phoenicians
860:(1635–1682)
777:(1639–1640)
769:(1639–1640)
761:(1639–1640)
753:(1639–1640)
423:online text
227:The figures
122:John Dryden
1965:Categories
1506: 828
1490:Literature
1035:Antiphates
1030:Andromache
915:Characters
627:1857090462
565:References
536:(1824) by
511:Kitson, 31
502:Kitson, 31
493:Blunt, 176
365:Kitson, 31
305:Christie's
219:repoussoir
184:oil sketch
1811:(1660–65)
1392:Mezentius
1327:Cydonians
1297:Aventinus
1292:Automedon
1287:Androgeus
1200:Thymoetes
1190:Sergestus
1155:Palinurus
1140:Mnestheus
1115:Hippocoon
1085:Deiphobus
1065:Corynaeus
1055:Cassandra
979:Tiberinus
793:(c. 1643)
737:(c. 1639)
729:(c. 1638)
694:Paintings
1767:Quos ego
1722:Ad astra
1474:(1971–2)
1382:Messapus
1347:Halaesus
1332:Diomedes
1312:Catillus
1241:Mattan I
1205:Ucalegon
1165:Panthous
1160:Pandarus
1120:Ilioneus
1100:Euryalus
1095:Entellus
1075:Dardanus
1040:Ascanius
1025:Anchises
934:Crinisus
849:Drawings
798:The Ford
583:(1969),
474:Archived
139:, 1676,
118:Ascanius
1931:Odyssey
1911:Eneados
1899:Related
1795:(25 BC)
1714:Phrases
1560:Lavinia
1479:Eneyida
1442:Venulus
1387:Metabus
1372:Lavinia
1362:Latinus
1357:Juturna
1317:Clytius
1307:Camilla
1262:Acestes
1221:Acerbas
1185:Ripheus
1175:Polites
1150:Ornytus
1135:Misenus
1125:Laocoön
1110:Helenus
1060:Clonius
1005:Aeneads
1000:Achates
993:Trojans
969:Mercury
959:Jupiter
922:Deities
909:(19 BC)
532:in the
484:in 2011
263:Prince
186:in the
182:and an
116:'s son
71:pendant
1939:Aeneid
1923:Aeneid
1835:(1834)
1827:(1815)
1819:(1689)
1803:(1619)
1579:Didone
1552:Eneida
1536:Amelia
1482:(1991)
1471:Eneide
1466:(1962)
1427:Turnus
1417:Salius
1412:Rutuli
1402:Pallas
1367:Lausus
1352:Iarbas
1337:Erulus
1255:Others
1195:Theano
1090:Elymus
1070:Creusa
1045:Caieta
1020:Aletes
1015:Aeolus
1010:Aeneas
974:Saturn
944:Hecate
929:Alecto
906:Aeneid
901:Virgil
841:(1682)
833:(1664)
825:(1655)
817:(1655)
809:(1648)
801:(1644)
785:(1641)
745:(1639)
713:(1637)
705:(1635)
645:, 1949
625:
180:Girona
176:Rubens
126:Latium
114:Aeneas
109:Aeneid
104:Virgil
100:book 7
88:Aeneid
58:Oxford
1927:Iliad
1868:Study
1843:Music
1651:Didon
1603:Didon
1571:Opera
1531:play)
1437:Umbro
1432:Ufens
1422:Sinon
1407:Picus
1377:Macar
1322:Cydon
1302:Butes
1282:Amata
1272:Actor
1231:Belus
1180:Priam
1170:Paris
1145:Nisus
1130:Mimas
1050:Capys
984:Venus
949:Hymen
939:Cupid
610:ed.,
606:, in
327:Notes
1929:and
1236:Dido
1105:Gyas
964:Mars
954:Juno
623:ISBN
480:for
77:(or
1784:Art
903:'s
112:.
1967::
1526:c.
1503:c.
641:,
596:;
573:,
56:,
28:,
1853:"
1849:"
1524:(
1501:(
893:e
886:t
879:v
679:e
672:t
665:v
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