Who painted The Arrival of Aesculapius in Rome?

The Arrival of Aesculapius in Rome was painted by François Boitard in 1700.

Where can I see The Arrival of Aesculapius in Rome?

The Arrival of Aesculapius in Rome is held by National Gallery of Art.

What movement is The Arrival of Aesculapius in Rome?

The Arrival of Aesculapius in Rome is associated with Baroque.

Can I buy a print of The Arrival of Aesculapius in Rome?

Museum-quality prints of The Arrival of Aesculapius in Rome are available made-to-order from Artifact World Gallery.

Artwork

The Arrival of Aesculapius in Rome

François Boitard , 1700

The Arrival of Aesculapius in Rome is an ink drawing by the Baroque artist François Boitard. It dates from 1700 and is held in the collection of the National Gallery of Art.

Inscription: Inscribed:by later hand, lower right in black ink: AV; by later hand, lower right verso in graphite: K7808 / E00 / 13/16 36

About this work

Overview

François Boitard’s drawing titled The Arrival of Aesculapius in Rome dates from around 1700. Executed with pen, black ink and a gray wash applied over a graphite underdrawing on laid paper, the work presents a bustling urban scene that captures a moment of mythic import.

Subject & Meaning

The composition centers on a large, winged serpent, Aesculapius’s staff, coiled around a tall pole as it advances toward a crowd of onlookers. Figures in the foreground display a range of reactions, from alarm to curiosity, while distant architecture and a ship near a tower suggest a ceremonial entry into the city.

Technique & Style

Boitard employs rapid, sketch‑like pen strokes combined with cross‑hatching to model volume and shadow. The gray wash deepens the tonal range, while the underlying graphite sketch remains visible, giving the drawing a lively, unfinished quality that emphasizes movement over precise finish.

History & Provenance

Created circa 1700, the drawing is attributed to Boitard, a French draughtsman active in the early eighteenth century. Its provenance prior to modern collection records is not documented, and it remains a singular example of Boitard’s interest in mythological subjects rendered in a preparatory drawing format.