Who painted Hercules, in his death throes, hurling Lichas into the sea?

Hercules, in his death throes, hurling Lichas into the sea was painted by Giuseppe Cammarano in 1790.

Where can I see Hercules, in his death throes, hurling Lichas into the sea?

Hercules, in his death throes, hurling Lichas into the sea is held by Victoria and Albert Museum.

What movement is Hercules, in his death throes, hurling Lichas into the sea?

Hercules, in his death throes, hurling Lichas into the sea is associated with Romanticism.

Can I buy a print of Hercules, in his death throes, hurling Lichas into the sea?

Museum-quality prints of Hercules, in his death throes, hurling Lichas into the sea are available made-to-order from Artifact World Gallery.

Artwork

Hercules, in his death throes, hurling Lichas into the sea

Giuseppe Cammarano , 1790

Hercules, in his death throes, hurling Lichas into the sea is a drawing by the Romanticist artist Giuseppe Cammarano. It dates from 1790 and is held in the collection of the Victoria and Albert Museum.

About this work

Overview

This pen‑and‑ink drawing captures a dramatic moment from the myth of Hercules, portraying the hero in the final stage of his life as he throws the messenger Lichas into the sea. The composition is dominated by a contorted, muscular figure whose body twists in effort, while a smaller, struggling figure falls away beneath him.

Subject & Meaning

The scene references the ancient tale in which Lichas, having delivered the fatal poisoned robe, is cast into the ocean by a dying Hercules. The artist emphasizes the physical strain and emotional turmoil of the hero, using the violent gesture to convey both the culmination of Hercules' suffering and the tragic fate of the messenger.

Technique & Style

Executed in pen and ink, the work relies on dense cross‑hatching and layered strokes to suggest volume and tension without conventional shading. Tight, overlapping lines create stark contrasts of light and dark, while the sketchy background hints at turbulent water or rocky cliffs, reinforcing the sense of movement and raw energy.

Context

The drawing is a study rather than a finished painting, focusing on gesture and expression over detailed rendering. Its precise date and provenance are not recorded, but the choice of mythological subject aligns with the long tradition of classical themes explored by artists seeking to demonstrate mastery of the human form and narrative drama.