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The life of Hannibal and the history of the Punic Wars has produced a number of works of art, both paintings and sculpture.
Aldegrever - Hannibal fighting Scipio
Hannibal
fighting Scipio, 1538 Title in old Hollstein: Hannibal fighting against
Scipio Title in Bartsch: Annibal et Scipion engraving , laid paper
ribbed, 4,6 x 19,8cm State: 1 (from 2) Signed: 1538/ AG Inscription:
HANIBAL// PU. COR. SCIPIO inv. Gr.Ob.N.54 Preparatory drawing:
Kunsthalle Hamburg (inv. 22885) Provenance: Goluchow no.1030 negative:
163605 Double size Max. size Bibliography: Bartsch VIII, no. 71;
Zschelletzschky 1933, p. 71; Hollstein I, p. 45 (1st state- before the
date 1538 between the monogram and HANIBAL); Inventaire des gravures
II, no. 2346; Pla�mann, no. 3; The New Hollstein, no. 71.
The
print is probably slightly earlier than the date in the inscription,
but not earlier than 1532, as it bears certain similarities to an
engraving by Barthel Beham from that year (Bartsch no.70)
The
battle in the print is probably the battle of Zama (202 BC) in which
Hannibal, chief commander of Carthaginian armies in the Second Punic
War, was defeated by Scipio Africanus.
photography: copyright Muzeum Narodowe w Warszawie
Bust of Hannibal
Description:
Bronze bust of Hannibal in baroque style; heavy black
patina. Man with curly hair, wearing cuirass with Gorgon head in
center, mounted on a turned marble base. Height 68.5 cm.
Provenance:
Sold at auction in 1939 by Parke-Bernet Gallery, New York, as
part of the estate of Edward Julius Berwind.
Purchased by Raphael Stora and sold for $60.00 US (a gift disguised as
a sale, perhaps for accounting purposes) to Charles Trick Currelly,
father of Judge John C. Currelly (donor, to honour his mother, Mary
Newton Currelly).
The
inventory of the works of Fran�ois Girardon (1628-1715, sculptor to
Louis XIV and decorator of the palace at Versailles), indicates that a
bronze bust of Hannibal was at one time in the collection.
Donated to the Louvre at one time, its whereabouts were later unknown
and this bronze may indeed be that very sculpture. It bears a
striking resemblance to the engraving in Girardon's inventory, though
it may also be a copy of Girardon`s Hannibal, done by Sebastien Slodtz
(1655-1726), Girardon's student and proteg�. The bust is,
nonetheless, an original seventeenth century bronze portrait, and,
according to Girardon's inventory, modelled after some ancient portrait
of Hannibal. This is difficult to prove however, since no
portraits of Hannibal, not even on coinage, have survived the ancient
world. [note: this is not quite correct!] There is however a
remarkable similarity between this work and the portraits of the
Severan and Antonine emperors both in the facial features and in the
genre.
Capitoline wall - Hannibal on a war elephant
ca. 1980-1997 Rome, Italy
A mural in the "Hall of Hannibal" in the Palazzo dei Conservatori of the Capitoline Museum in Rome.
� Massimo Listri/CORBIS
Wilson - Ponte Alpino built by Hannibal
Richard Wilson 1713-1782 British from Opp� Collection
Pencil on paper (Dy) support 287mm x 217mm on paper, unique
Purchased as part of the Opp� Collection with assistance from the National Lottery through the Heritage Lottery Fund 1996
Turner - Hannibal crossing the Alps
Bonascone - The Wounded Scipio
Giulio di Antonio Bonasone (engraver), Italian , 1498 - 1558
after Polidoro da Caravaggio, 16th century
Engraving 20.3 x 26.9 cm (image) inches
Achenbach Foundation for Graphic Arts
1963.30.2773
Giulio
di Antonio Bonasone. Born in Bologna, dates of birth and death
uncertain. A painter, engraver, and etcher. A pupil of Lorenzo
Sabbatini, he was influenced by Marcantonio when the latter returned to
Bologna, after which he was active in Rome between 1531 and 1574.
Prints dated between 1531 and 1574. Reference: Bartsch, Adam. Le
Peintre-graveur. vol.XV. W�rzburg: 1920 Boorsch, Suzanne and J. Spike.
Italian Masters of the Sixteenth Century. The Illustrated Bartsch. vol
28. New York:1985.
Batoni, Pompeo- The Continence of Scipio
Oil on canvas. 226.5x297.5 cm Italy. Circa 1771/72
Source of Entry: Gatchina Palace Museum. 1926
Bellini - The Continence of Scipio
Dell'Abatte - The Continence of Scipio
Dell'Abate, Niccol� (Italian, practiced mainly in France, 1509-1572) , canvas, Mus�e du Louvre, Paris.
Reynolds - The Continence of Scipio
Oil on canvas. 239.5x165.5 cm Britain. 1789 Source of Entry: Collection of Prince G. A. Potemkin, St Peterburg. 1792
In
1785 the British diploma Lord Carysfort was entrusted with a commission
to Reynolds for two paintings, one for Catherine the Great of Russia,
and the other for her favourite friend and adviser, Prince Grigory
Potemkin. The artist himself was to choose the subject. For Potemkin's
painting, Reynolds settled on a subject from Livy's "History of Rome".
Publius Cornelius Scipio Africanus (c. 235 - c. 183 BC), military
commander and hero of the Second Punic War, showing virtue and great
restraint (or "continence"), returns a beautiful captive Carthaginian
woman to her fiance. This was a very obvious hint at the virtue of
Potemkin himself - a renowned general, he led the Russian army in
numerous campaigns against Turkey.
The
composition is based on a contrast between the powerful figure of the
hero, calm and unshaking, and the tender captive, almost fainting at
the horror of what she thinks lies before her. The painting was
exhibited at the Royal Academy of Arts in 1789 and met with a mixed
reaction. Some criticised the overloaded composition as a major defect,
others noticed the beautiful colouring, "equal to the finest works of
the Flemish School".
Van Dyck - The Continence of Scipio
Sir Anthony Van Dyck (Flemish, 1599-1641) :
One
of Van Dyck's most important "history paintings", it was probably
commissioned in 1620-21 by George Villiers, Ist Duke of Buckingham and
favourite of James I. Although it ostensibly represents a classical
subject it is thought to be an allegory of the difficult circumstances
surrounding the marriage of Buckingham to Lady Katherine Manners, and
the figures holding hands are likely to be portraits of the couple.
Like his master Rubens, Van Dyck had a keen interest in antiquity, and
he invokes the world of ancient Carthage with the inclusion of a Roman
frieze copied from a piece known to have been in the Earl of Arundel's
celebrated collection of antiquities.
Tiepolo - Scipio freeing Massiva
Triumph of Scipio - Gaspard de Cruyer
'The Continence of Scipio' - Jan Abel van Wassenbergh
Aldgrever - Sophonisbe drinking poison
Sophonisbe drinking poison, 1553 Title in old Hollstein: Sophonisbe drinks the poison cup Title in Bartsch: Sophonisbe
engraving
, laid paper ribbed, 11,5 x 7,2cm State: Signed: 1553/ AG Inscription:
Masinissa Scipionis cosilio Sopho/ nisben numidie regina relinquens,/
ne in manus Ro. incideret venen/ u ei misit quo hausto expirauit. inv.
Gr.Ob.N.47 Preparatory drawing: Provenance: Goluchow no.1023 negative:
162105 Double size Max. size Bibliography: Bartsch VIII, no. 62;
Zschelletzschky 1933, p. 134; Hollstein I, p. 37; Inventaire des
gravures II, no. 2338; Katalog rycin p. 36, no. 18; The New Hollstein,
no. 62. Engraved copy by monogrammist BH is in the collection of
Kunsthalle Bremen. New Holstein mentions an anonymous copy.
Sophonibe
(Sophonisbe) - Numidian princess (died 203 BC), daughter of
Carthaginian commander Hasdrubal, engaged to Numidian king Masynissa.
Later married his enemy Syphax to obtain peace with Carthago. After
imprisonment of Syphax by Romans she became a wife of Masynissa, who
gave her poison to save her from humiliation.
Photography: copyright Muzeum Narodowe w Warszawie
Caroto - Sophonisba Drinking the Poison
Oil on wood Museo di Castelvecchio, Verona; CAROTO, Giovanni Francesco (b. 1488, Verona, d. after 1562)
Sophonisba
was the daughter of a Carthaginian general at the time of the second
Punic war. She married a prince of neighbouring Numidia, allied to
Rome, and succeeded in alienating him from his Roman masters. But he
was captures by another Numidian leader Masinissa, who in turn fell in
love with Sophonisba, and likewise married her. To prevent the loss of
a second ally from the same cause the Roman general Scipio demanded
that she be surrendered and sent captive to Rome. Her husband, not
daring to defy Scipio, sent her a cup of poison which she drank.
Sophonisba's death is a popular theme among Baroque painters of Italy
and northern Europe.
Pajou - Regulus sets out for Carthage
Pajou Jacques Augustin
Paris, 1766 ; Paris, 1828. Admitted to the Academy, he was above all an exponent of history painting and portraits.
Regulus
Sets Out for Carthage. Oil; 112 cm x 151 cm. Signed, dated: Pajou fils
1793 . Exhibited at the 1793 Salon. Gustave Vaillant Collection.
Th�r�se Vaillant Collection. Mme Solvay Collection. Gift of Mme
Petit-Collot to the French State in 1964. Held hostage by the
Carthaginians, the Roman consul Regulus had been given the chance to
negotiate peace with Rome for Carthage in exchange for his freedom. Not
only did Regulus advise Rome to continue the war, but, refusing to
break his promise, he returned to Carthage where he was tortured and
put to death. Paris, Mus�e du Louvre (inv. RF 1964 5).
Penni - Battle of Zama
Giovanni Francesco Penni. Louvre Museum
Zama - Tapestry
a 16th-century tapestry depicting the Battle of Zama.
Patrimonio Nacional, Madrid, Spain.
The Battle of Ticinus
Follower
of Giulio Romano Mantua circa 1558 Distemper on paper mounted on canvas
RF 44339 Cartoon of a piece of the wall-hanging of Scipio woven at
Brussels circa 1558 for Jacques d'Albon, Mar�chal de Saint-Andr�,
favourite of the King of France, Henri II (Hearst Collection, San
Simeon, California). The subject is inspired by the Histories of Livy
and Polybius. In 218 BC, during a battle on the Ticinus in the north of
Italy, the young Scipio saved his father, Consul Publius Cornelius
Scipio, wounded during the combats which opposed the Romans and the
Carthaginians led by Hannibal.
Louvre.
Quintus Fabius Maximus before the senate of Carthage
Tiepolo, Giambattista.
Dionisio
Dolfin, Patriarch of Aquileia, commissioned a series of ten paintings
on themes from Roman history (five of which are now in the Hermitage)
for his Venetian palace, known as the Ca' Dolfin.
In
this work, the artist chose the scene in which Rome declared war on
Carthage (Livy, Roman History, II, 6). Rome sent an embassy to the
Senate at Carthage under the leadership of Quintus Fabius Maximus
Verrucosus (273-203 BC), known as Cunctator (the delayer). The embassy
was protesting the seizure by Carthage of a town allied to Rome. Since
the senators refused to answer the protest, Quintus Fabius asked them
what they would chose, war or peace? The senators chose war.
An
excerpt from the Epitome of Roman history (II, 6) by Florus is to be
seen at the top of the painting. It reads "When the Carthaginians
refused to answer, the leader of the embassy Fabius: ?What is the
delay? Here I bring you war and peace. Which do you choose?' In answer
to their cry of ? War!' he replied: ?Thus you shall have war', shook
out before the whole gathering a fold of his toga, and let it go, not
without a shudder, as if indeed he carried war in that fold. Tiepolo
sets the main hero with his back to the viewer, allowing us only to
guess at the expression on his face. This device was used repeatedly in
the series of paintings for the Ca' Dolfin, and creates an impression
of heightened emotional tension.
Oil
on canvas. 387x224 cm Italy. Circa 1730 Source of Entry: First Branch
of the State Hermitage Museum (former Museum of the Stieglitz School).
1934
Caius Marius amid the ruins of Carthage
John Vanderlyn American , 1775 - 1852 , 1807 oil on canvas
Turner - Dido building Carthage
Turner - Decline of Carthage
Pesellino - Allegory of Rome
Francesco Pesellino (Francesco di Stefano), From De Secundo Bello Punico Poema by Silius Italicus, 1447-1457
Gouache, gold leaf, pen and ink, watercolour on parchment 28.7 x 20.2 cm
This
is one of the six Florentine miniatures in the Hermitage made to
decorate the codex of the epic poem by Silius Italicus (25-101 AD),
which tells the story of the Second Punic War. The manuscript appears
to have been commissioned sometime between 1447 and 1455 by Pope
Nicholas V, whose portrait appears in one of the miniatures. Later it
turned up in Venice in the church of SS Giovanni e Paolo, from whence
it was transferred to the Library of St Mark�s, where it is kept to
this day. At the end of the 18th century, however, when the manuscript
was still in the monks� care, the larger illustrations (apart from
seven) were taken out to be sold and were soon acquired by
representatives of the Russian court.
Pesellino - L'allegorie de Carthage
(miniature)
Pesellino, Francesco di Stefan 1447
Paintings of Republican Rome |
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