Where can I see Agrippina Landing at Brindisi with the Ashes of Germanicus?

Agrippina Landing at Brindisi with the Ashes of Germanicus is held by National Gallery of Art.

What movement is Agrippina Landing at Brindisi with the Ashes of Germanicus?

Agrippina Landing at Brindisi with the Ashes of Germanicus is associated with Romanticism.

Can I buy a print of Agrippina Landing at Brindisi with the Ashes of Germanicus?

Museum-quality prints of Agrippina Landing at Brindisi with the Ashes of Germanicus are available made-to-order from Artifact World Gallery.

Artwork

Agrippina Landing at Brindisi with the Ashes of Germanicus

Richard Earlom , 1776

Agrippina Landing at Brindisi with the Ashes of Germanicus is an ink print by the Romanticist artist Richard Earlom. It dates from 1776 and is held in the collection of the National Gallery of Art.

Inscription: Inscribed:lower left in plate: Painted by Benjamin West. / Historical painter to His Majesty; lower center in plate: Agrippina / Publish'd. July 1st, 1776 by John Boydell Cheapside London; lower right in plate: Engrav'd by Richard Earlom 1776; by later hand, lower right in graphite: M7 37; by later hand, lower left in graphite: P22955 LUB 61 i/ OHL / CLB; by later hand, upper left in graphite: 16

About this work

Overview

Agrippina Landing at Brindisi with the Ashes of Germanicus is a mezzotint print created by Richard Earlom in 1776, depicting a poignant scene from ancient Roman history.

Subject & Meaning

The print illustrates the moment Agrippina arrives at Brindisi with the ashes of her deceased husband, Germanicus. At the center, Agrippina, serene amidst turmoil, guides two children, contrasting with the mournful and reaching figures around her, emphasizing her strength in grief.

Technique & Style

Earlom employed mezzotint to achieve deep, expressive shading, utilizing chiaroscuro to render three-dimensional figures, particularly evident in the textured, voluminous folds of the characters' clothing.

History & Provenance

Created in 1776 by Richard Earlom, specific provenance details are not provided, highlighting the work's existence as a historical print rather than tracing its ownership history.

Context

This work reflects 18th-century interest in classical Roman narratives, combining historical subject matter with the emerging technical capabilities of mezzotint printing.

Legacy

While not widely discussed in broad art historical narratives, it remains a notable example of late 18th-century mezzotint technique applied to a classical theme, offering insight into the period's artistic preoccupations.