36:
348:
268:. 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 Tacitus. At the top left, two figures are shown climbing up a staircase, which are not included in the painting. The second drawing, kept at the
167:
231:
In addition to ancient influences, he also uses motifs present in the painting of his time or slightly earlier: the soldier represented on the far left is a revival of the one represented on the extreme right of the
Crusaders in front of Jerusalem by Ambroise Dubois (castle de Fontainebleau). It also
227:
The general composition of the painting could have been borrowed from the Death of
Meleager, represented on several ancient Roman sarcophagi present in Rome at the time of Poussin. A copy is kept in the Vatican Museums, another in the Capitoline Museums and yet another, currently in Wilton House but
293:
From the time of
Poussin, the painting became famous in artistic circles and the painting was copied and commented on many times. However, it was not until the middle of the 18th century that the theme of Germanicus' death was taken up in the painting, but each time inspired by Poussin. He is thus
143:. The painting was delivered on January 21, 1628, and a receipt signed by the painter's hand indicates that he obtained the sum of 60 crowns for this work. The painting very quickly obtained a great echo because from the following February, Poussin was chosen to paint an altarpiece in
284:
and Louis
Antoine Prat put forward the hypothesis that it is not a preparatory drawing but a later one, produced around 1630–1632 with a view to the development of a second painting on the same theme but probably never executed.
218:
and the rest of his family swear to avenge his death, enjoying great popularity among the Roman people. Poussin undoubtedly learned of
Tacitus' text through an Italian translation, which was numerous at the time in Rome.
139:, perhaps through the intermediary of the banker and patron Marcello Sacchetti. Barberini had already commissioned a Capture of Jerusalem (Israel Museum) from Poussin, painted around 1625-1626 and given as a gift to
861:
228:
present in Rome at the beginning of the 17th century. The figure of
Agrippina recalls the personifications of vanquished nations in Roman representations, such as vanquished Judea (judea capta)
1100:
781:
302:
in 1789. If the subject is not taken up much by the artists, many are those who insert in their works allusions to
Poussin's painting from this period. This is the case of
131:. The order was probably placed in October 1626, returning from a diplomatic visit to Spain. He called on Nicolas Poussin, then a young painter who had recently settled in
669:
741:
1115:
877:
693:
677:
626:
989:
733:
845:
789:
150:
The painting is given by
Francesco to his nephew Maffeo Barberini (1631–1685), prince of Palestrina. It then remained in the collections of the
837:
1095:
829:
592:
35:
821:
652:
644:
365:
207:
120:
104:
973:
925:
909:
941:
901:
805:
709:
1005:
853:
1110:
813:
981:
341:
179:
Poussin is probably the first painter to examine this subject. This episode in the history of ancient Rome is taken from the
957:
757:
619:
965:
725:
465:
154:
in Rome and
Florence until 1958. That year, it was acquired by the Minneapolis Institute of Art with the support of the
108:
80:
1013:
869:
765:
1040:
1032:
749:
685:
1074:
997:
949:
893:
773:
325:
237:
1105:
612:
1058:
717:
144:
917:
347:
188:
155:
303:
933:
885:
797:
661:
333:
316:
311:
215:
136:
140:
441:
241:
264:
Two drawings taking up the theme of the painting are attributed to
Poussin. One is kept in the
588:
299:
269:
249:
489:
321:
281:
180:
151:
635:
332:(Granet Museum), assimilates the painter to the Roman general. Finally, he still inspired
273:
124:
100:
46:
202:, especially against the Germans, which earned him his nickname. He was sent to fight in
280:
painting: the number of characters is different. According to the style of the drawing,
265:
203:
1089:
72:
147,96 cm Ă— 198,12 cm (5,825 in Ă— 7,800 in)
295:
214:, accusing Piso of having poisoned him on the orders of Tiberius. He made his wife
277:
248:, taken from a series of tapestries on the Life of Constantine from cartoons by
84:
253:
191:
199:
195:
211:
184:
166:
128:
604:
346:
324:
that I owe my subject, it is to Poussin that I owe my painting ”.
165:
132:
96:
608:
862:
Camillus Handing the Falerian Schoolmaster over to his Pupils
562:
La Mort de Germanicus de Poussin du Musée de Minneapolis
547:
The Paintings of Nicolas Poussin. A Critical Catalogue
135:
since 1624, whom he may have known thanks to the poet
466:"Collections du Musée Condé - Affichage d'une notice"
568:« Dossier du département des peintures » (
1067:
1051:
1024:
651:
244:). Poussin's painting also seems to be inspired by
76:
68:
60:
52:
42:
21:
670:The Battle between the Israelites and the Amorites
1036:(first series 1637–1640; second series 1644–1648)
782:Saint James the Great's Vision of the Virgin Mary
1101:Paintings in the Minneapolis Institute of Art
620:
338:The Last Words of the Emperor Marcus Aurelius
320:in 1785 who declares about him: "If it is to
187:. It describes the military successes of the
8:
627:
613:
605:
119:The painting was commissioned by Cardinal
18:
206:, but there was opposition from Governor
990:Blind Orion Searching for the Rising Sun
878:Theseus Rediscovering His Father's Sword
377:
742:The Mystic Marriage of Saint Catherine
678:Joshua's Battle against the Amalekites
276:, has many variations compared to the
560:Pierre Rosenberg and Nathalie Butor,
310:in 1769 or, in a more subtle way, of
7:
366:List of paintings by Nicolas Poussin
1116:Paintings based on works by Tacitus
974:Landscape with Orpheus and Eurydice
926:Landscape with the Ashes of Phocion
910:Landscape with Saint John on Patmos
210:. He died suddenly on the spot, in
806:A Bacchanalian Revel Before a Term
147:, The Martyrdom of Saint Erasmus.
14:
1006:Landscape with Hercules and Cacus
854:Triumph of Neptune and Amphitrite
694:The Capture of Jerusalem by Titus
564:, Éditions des musées nationaux,
814:The Adoration of the Golden Calf
198:, in the service of the Emperor
34:
582:, Paris, Flammarion, 1994, 287
308:Septimius Severus and Caracalla
121:Francesco Barberini (1597–1679)
734:The Martyrdom of Saint Erasmus
549:, Londres, Phaidon, 1966, 271
1:
790:The Massacre of the Innocents
28:French: La Mort de Germanicus
1096:Paintings by Nicolas Poussin
966:Landscape with Three Figures
846:A Dance to the Music of Time
838:The Rape of the Sabine Women
342:Musée des beaux-arts de Lyon
109:Minneapolis Institute of Art
81:Minneapolis Institute of Art
830:The Crossing of the Red Sea
766:The Inspiration of the Poet
351:Heinrich Friedrich FĂĽger -
170:Bust of Germanicus (ca. 10)
16:Painting by Nicolas Poussin
1132:
822:Adoration of the Shepherds
442:"drawing | British Museum"
1075:Poussinists and Rubenists
998:Landscape with Two Nymphs
950:Landscape with Polyphemus
774:Sleeping Venus with Cupid
642:
529:Rosenberg and Butor 1973,
238:Frans Pourbus the Younger
33:
26:
942:The Judgement of Solomon
902:The Continence of Scipio
710:Venus Weeping for Adonis
515:Rosenberg and Butor 1973
428:Rosenberg and Butor 1973
414:Rosenberg and Butor 1973
400:Rosenberg and Butor 1973
386:Rosenberg and Butor 1973
300:Heinrich Friedrich FĂĽger
256:to Francesco Barberini.
246:The Death of Constantine
1111:Oil on canvas paintings
702:The Death of Germanicus
494:www.pop.culture.gouv.fr
490:"La mort de Germanicus"
353:The Death of Germanicus
93:The Death of Germanicus
22:The Death of Germanicus
918:The Funeral of Phocion
841:(1634–1635, 1637–1638)
356:
326:François Marius Granet
232:uses the curtain from
223:Sources of inspiration
208:Gnaeus Calpurnius Piso
171:
145:Saint Peter's Basilica
95:is a painting made in
1059:Musée Nicolas Poussin
982:The Flight into Egypt
350:
260:Preparatory drawings?
252:, offered in 1625 by
169:
156:William Hood Dunwoody
557:113-114 (notice 156)
304:Jean-Baptiste Greuze
107:. It is kept at the
934:Eliezer and Rebecca
758:Cephalus and Aurora
662:The Death of Chione
578:Jacques Thuillier,
317:Oath of the Horatii
312:Jacques-Louis David
216:Agrippina the Elder
194:, elder brother of
137:Giambattista Marino
105:Francesco Barberini
726:Echo and Narcissus
446:The British Museum
357:
172:
141:Cardinal Richelieu
1083:
1082:
1014:Apollo and Daphne
870:Et in Arcadia ego
645:List of paintings
596:
593:978-2-08-012513-2
531:. pp. 56–60.
517:. pp. 49–50.
388:. pp. 11–12.
250:Peter Paul Rubens
90:
89:
1123:
1041:The Four Seasons
1033:Seven Sacraments
750:Plague of Ashdod
686:Venus and Adonis
629:
622:
615:
606:
600:
586:
585:
575:
571:
567:
556:
552:
533:
532:
525:
519:
518:
511:
505:
504:
502:
501:
486:
480:
479:
477:
476:
462:
456:
455:
453:
452:
438:
432:
431:
430:. pp. 9–10.
424:
418:
417:
410:
404:
403:
396:
390:
389:
382:
334:Eugène Delacroix
330:Death of Poussin
282:Pierre Rosenberg
152:Barberini Family
38:
19:
1131:
1130:
1126:
1125:
1124:
1122:
1121:
1120:
1106:1620s paintings
1086:
1085:
1084:
1079:
1063:
1047:
1025:Painting series
1020:
894:Extreme Unction
647:
638:
636:Nicolas Poussin
633:
601:249 (notice 58)
598:
583:
580:Nicolas Poussin
573:
569:
565:
554:
550:
545:Anthony Blunt,
542:
537:
536:
527:
526:
522:
513:
512:
508:
499:
497:
488:
487:
483:
474:
472:
464:
463:
459:
450:
448:
440:
439:
435:
426:
425:
421:
416:. pp. 7–9.
412:
411:
407:
402:. pp. 5–7.
398:
397:
393:
384:
383:
379:
374:
362:
298:in 1774 and by
294:represented by
291:
262:
242:Musée du Louvre
234:The Last Supper
225:
177:
164:
125:Pope Urban VIII
117:
101:Nicolas Poussin
47:Nicolas Poussin
17:
12:
11:
5:
1129:
1127:
1119:
1118:
1113:
1108:
1103:
1098:
1088:
1087:
1081:
1080:
1078:
1077:
1071:
1069:
1065:
1064:
1062:
1061:
1055:
1053:
1049:
1048:
1046:
1045:
1037:
1028:
1026:
1022:
1021:
1019:
1018:
1010:
1002:
994:
986:
978:
970:
962:
954:
946:
938:
930:
922:
914:
906:
898:
890:
882:
874:
866:
858:
850:
842:
834:
826:
818:
810:
802:
801:(c. 1631–1633)
794:
786:
785:(c. 1629–1630)
778:
770:
762:
761:(c. 1629–1630)
754:
746:
738:
730:
722:
714:
713:(c. 1626-1627)
706:
698:
690:
682:
674:
666:
657:
655:
649:
648:
643:
640:
639:
634:
632:
631:
624:
617:
609:
603:
602:
576:
558:
541:
538:
535:
534:
520:
506:
481:
457:
433:
419:
405:
391:
376:
375:
373:
370:
369:
368:
361:
358:
290:
287:
266:British Museum
261:
258:
224:
221:
176:
173:
163:
160:
127:and legate in
116:
113:
88:
87:
78:
74:
73:
70:
66:
65:
62:
58:
57:
54:
50:
49:
44:
40:
39:
31:
30:
24:
23:
15:
13:
10:
9:
6:
4:
3:
2:
1128:
1117:
1114:
1112:
1109:
1107:
1104:
1102:
1099:
1097:
1094:
1093:
1091:
1076:
1073:
1072:
1070:
1066:
1060:
1057:
1056:
1054:
1050:
1043:
1042:
1038:
1035:
1034:
1030:
1029:
1027:
1023:
1016:
1015:
1011:
1008:
1007:
1003:
1000:
999:
995:
992:
991:
987:
984:
983:
979:
976:
975:
971:
968:
967:
963:
960:
959:
958:Self-Portrait
955:
952:
951:
947:
944:
943:
939:
936:
935:
931:
928:
927:
923:
920:
919:
915:
912:
911:
907:
904:
903:
899:
896:
895:
891:
888:
887:
883:
880:
879:
875:
872:
871:
867:
864:
863:
859:
856:
855:
851:
848:
847:
843:
840:
839:
835:
832:
831:
827:
824:
823:
819:
816:
815:
811:
808:
807:
803:
800:
799:
795:
792:
791:
787:
784:
783:
779:
776:
775:
771:
768:
767:
763:
760:
759:
755:
752:
751:
747:
744:
743:
739:
736:
735:
731:
728:
727:
723:
720:
719:
718:Saint Cecilia
715:
712:
711:
707:
704:
703:
699:
696:
695:
691:
688:
687:
683:
680:
679:
675:
672:
671:
667:
664:
663:
659:
658:
656:
654:
650:
646:
641:
637:
630:
625:
623:
618:
616:
611:
610:
607:
594:
590:
581:
577:
572:7), 1973, 72
563:
559:
548:
544:
543:
539:
530:
524:
521:
516:
510:
507:
495:
491:
485:
482:
471:
467:
461:
458:
447:
443:
437:
434:
429:
423:
420:
415:
409:
406:
401:
395:
392:
387:
381:
378:
371:
367:
364:
363:
359:
354:
349:
345:
343:
339:
335:
331:
327:
323:
319:
318:
313:
309:
305:
301:
297:
288:
286:
283:
279:
275:
271:
267:
259:
257:
255:
251:
247:
243:
239:
235:
229:
222:
220:
217:
213:
209:
205:
201:
197:
193:
190:
189:Roman general
186:
182:
174:
168:
161:
159:
157:
153:
148:
146:
142:
138:
134:
130:
126:
122:
114:
112:
110:
106:
102:
98:
94:
86:
82:
79:
75:
71:
67:
64:oil on canvas
63:
59:
55:
51:
48:
45:
41:
37:
32:
29:
25:
20:
1039:
1031:
1012:
1004:
996:
988:
980:
972:
964:
956:
948:
940:
932:
924:
916:
908:
900:
892:
884:
876:
868:
860:
852:
844:
836:
828:
820:
812:
804:
796:
788:
780:
772:
764:
756:
748:
740:
732:
724:
716:
708:
701:
700:
697:(1626; 1635)
692:
684:
676:
668:
660:
579:
561:
546:
528:
523:
514:
509:
498:. Retrieved
493:
484:
473:. Retrieved
470:46.182.7.202
469:
460:
449:. Retrieved
445:
436:
427:
422:
413:
408:
399:
394:
385:
380:
352:
337:
329:
315:
307:
296:Piat Sauvage
292:
263:
245:
233:
230:
226:
178:
149:
123:, nephew of
118:
92:
91:
27:
1044:(1660–1664)
1017:(1661–1664)
985:(1657–1658)
977:(1650–1653)
969:(1645–1650)
937:(1648–1649)
897:(1638–1640)
889:(1638–1639)
849:(1634–1636)
833:(1633–1634)
825:(1633–1634)
817:(1633–1634)
809:(1632–1633)
793:(1625–1632)
777:(1628–1630)
769:(1629–1630)
753:(1628–1630)
745:(1628–1629)
737:(1628–1629)
729:(1627–1628)
721:(1627–1628)
496:(in French)
278:Minneapolis
270:Musée Condé
162:Description
85:Minneapolis
1090:Categories
500:2020-07-25
475:2020-07-25
451:2020-07-25
372:References
254:Louis XIII
192:Germanicus
69:Dimensions
1009:(c. 1660)
886:The Manna
873:(1637–38)
857:(c. 1636)
798:Parnassus
681:(c. 1625)
673:(c. 1625)
653:Paintings
340:in 1844 (
322:Corneille
289:Posterity
274:Chantilly
360:See also
200:Tiberius
196:Claudius
77:Location
1068:Related
1052:Museums
540:Sources
328:in his
306:in his
212:Antioch
185:Tacitus
175:Subject
115:History
1001:(1659)
993:(1658)
961:(1649)
953:(1649)
945:(1649)
929:(1648)
921:(1648)
913:(1640)
905:(1640)
881:(1638)
865:(1637)
705:(1627)
689:(1626)
665:(1622)
591:
355:(1789)
181:Annals
158:Fund.
129:France
61:Medium
43:Artist
566:coll.
204:Syria
589:ISBN
133:Rome
103:for
97:1627
56:1627
53:Year
344:).
336:in
314:'s
272:in
236:by
183:of
99:by
1092::
599:p.
597:,
587:(
584:p.
574:p.
555:p.
553:,
551:p.
492:.
468:.
444:.
111:.
83:,
628:e
621:t
614:v
595:)
570:n
503:.
478:.
454:.
240:(
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
