The Meeting of Antony and Cleopatra by Lawrence Alma Tadema

The Meeting of Antony and Cleopatra

(Das Treffen von Antonius und Kleopatra)

Lawrence Alma Tadema

Classicism  ·  personalities  ·  Famous masterpieces
The Meeting of Antony and Cleopatra by Lawrence Alma Tadema
1885   ·  Öl auf Panel  ·  45.41 Megapixel  ·  Picture ID: 30869
   Add to favorites


29.03.2019
Alina U.
I love that picture!
Art print on Canvas glossy, 49cm x 35cm, stretched on stretcher. With painting frame 'Rita'.


23.04.2018
Verena S.
The pressure corresponds exactly to my expectations.
(Machine translation)

Original comment: Der Druck entspricht genau meinen Erwartungen.
Art Print on Color cardboard, 40cm x 28cm.


03.04.2018
Christine C.
Art print on Canvas glossy, 50cm x 35cm, stretched on stretcher.
Lawrence Alma-Tadema (1863-1912) was a celebrated painter who had the great fortune to enjoy the favor of British Queen Victoria. With his passion for historical themes and exotic subjects, he satisfied the image hunger of his Victorian contemporaries. As a born Dutchman he also had Belgian and British citizenship. At the height of his success, he lived in London and was a member of the prestigious Royal Academy of Arts. No wonder the artist especially adapted to contemporary British tastes. When "The Meeting of Antony and Cleopatra" was first exhibited at the Grosvenor Gallery in London, one critic enthusiastically remarked, "The picture is incomparable."

The portrayal of the meeting between Antony and Cleopatra is based on a material of world literature: William Shakespeare had written the play titled "Antony and Cleopatra" around 1606/1607 and thus motivically followed his drama "Julius Caesar". Together with the 1608 subsequent tragedy "Coriolanus" form the three works of the so-called "Roman dramas". The historical models offered the poet space for exciting stories, dramatic developments and - as in this case - a tragic romance. The main characters of this love are the Roman general Marcus Antonius and the Egyptian queen Cleopatra. Although they both feel passionate love for each other, they divide political calculations and Antony finally enters a marriage of convenience with the Roman Octavia. A military defeat, in which Antony blames the Pharaoh, finally divides her completely. Cleopatra fakes a suicide, whereupon Antonius plunges into his sword. The act also heralds the end of the queen, who in the last, desperate act can be killed by a poisonous snake.

The picture shows the first, fateful encounter between Antony and Cleopatra. The latter arranged the meeting to win over the Roman general and politician. For this purpose, she drives in a bark, which the Greek historian Plutarch (about 45 - about 125 AD) knew to describe in the most beautiful colors: as a perfumed ship with purple sails, golden stern and silver oars , Lawrence Alma-Tadema captures the encounter with just as much talent for staging. In his interpretation, the Roman must content himself with a small section of the overall format. Like an image in the picture, he appears through the open pavilion, behind whose curtains Kleopatra eludes his undisguised curiosity. The proud woman is completely mistress of the scene. Leaning back she awaits the guest, from whom she promises influence in Rome and finally the consolidation of her power. As an unmistakable insignia of her regency, the painter has added the crook and the scourge to her. However, there can be no mistake about the outcome of the approaching romance: Cleopatra and Antonius contrast too sharply within the composition of the image to be able to imagine a "happy ending" here.

"The meeting of Antony and Cleopatra" fulfills the expectations of the late 19th century both in terms of content and technology. The Victorian era was generally focused on historical and, in particular, ancient themes. In addition, the painting also represents an example of popular Orientalism; a phenomenon in which the colonial power Britain had a significant share. The familiarity with the works of the national poet William Shakespeare could be presupposed anyway with the English educated bourgeoisie. But even those who did not know the story behind the picture could enjoy the picturesque quality. With attention to detail and fine brushstrokes, Alma-Tadema treats figures, clothes and the surrounding props in equal measure. Of course, behind all the splendor, there are already signs of decay. The petals scattered at the bottom of the ship testify to the transience of the lush garlands. Cleopatra's beast of prey is only a useless remnant of the noble wildcat - and not least a clue to her own miserable fate. © Meisterdrucke
Mockup 1 Mockup 2 Mockup 3 Mockup 5 Mockup 6 Mockup 7


Configure art print







  Masterful Art Prints
  Austrian Production
  Worldwide shipping
Other art prints by Lawrence Alma Tadema
Sweet does Nothing, 1873 (wc on paper) Roses of Heliogabalus, 1888 Caracalla and Geta, 1907 An Audience at Agrippas, 1875 Good Friends Portrait of Maurice Sons playing the Violin in Alma-Tademas Studio, 1896 Sappho and Alcaeus, 1881 Pomona Festival, 1879 Expectations, 1885 Under the Roof of Blue Ionian Weather, 1901 Sketch of a Committee Member, from the margins of the Royal Academy of Arts Report of the Special Committee, Elected by the General Assembly on March 10th, 1887, November 1888  (bw ph A Dedication to Bacchus, 1889 Unconscious Rivals Roman Sculptors, 1877 (oil on copper) The Vintage Festival (gravure)
Other motives from the category personalities
Thomas Tayleur, First Marquess of Headfort David with Head of Goliath Portrait of Nikola Tesla c.1885 Portrait of Nikola Tesla, 1890 Antonius Van Dyck and Peter Paul Rubens eques eques Self-portrait in Beret Self-Portrait The Meeting of Antony and Cleopatra Count Wilczek pleading John III Sobieski to relief Vienna George Washington, c.1788 George Washington, c.1850 Portrait of Nikola Tesla, 1890 Ak Crown Princess Cecilie with her daughters Alexandrine and Cecilie, Terrier Napoleon I (1769-1821) on the Bridge of Arcole Portrait of John Tyler
Excerpt from our top sellers
Yellow Red Blue Wheatfield with Crows Intersecting Lines, 1923 Two Girls Reading, 1890-1 The Heart of the Andes The Tortoise Trainer Cotopaxi Study of Alexander von Humboldt Rough weather at Étretat Summer evening on the beach at Skagen. The painter and his wife. The Conscript’s Farewell The Abduction of Europa The Bar Torcy, designed by Deschanel and J. Dussolier, 1920s Vevey, Lake Geneva The Blue Rigi: Lake of Lucerne - Sunrise, 1842

Meisterdrucke Logo long

   Hausergasse 21
       9500 Villach, Austria
   +43 4242 25574
   office@meisterdrucke.com
Social Media & Languages
                   

Das Treffen von Antonius und Kleopatra (AT) Das Treffen von Antonius und Kleopatra (DE) Das Treffen von Antonius und Kleopatra (CH) The Meeting of Antony and Cleopatra (US)
L La rencontre d De ontmoeting van Antonius en Cleopatra (NL) El Encuentro de Antonio y Cleopatra (ES) Встреча Антония и Клеопатры (RU)
एंटनी और क्लियोपेट्रा की बैठक (HI) 安东尼和克莉奥佩特拉会议 (ZH) O Encontro de Antônio e Cleópatra (PT)

Erfahrungen & Bewertungen zu Meisterdrucke
Partner Logos
PCI Compilant   FSC Zertifizierte Keilrahmen Datenschutzkodex   Kunsthistorisches Museum Wien   Albertina

(c) 2019 meisterdrucke.uk


Meisterdrucke Logo long
Hausergasse 21 · 9500 Villach, Austria
+43 4242 25574 · office@meisterdrucke.com
Partner Logos

               
Das Treffen von Antonius und Kleopatra (AT) Das Treffen von Antonius und Kleopatra (DE) Das Treffen von Antonius und Kleopatra (CH) The Meeting of Antony and Cleopatra (US) L La rencontre d De ontmoeting van Antonius en Cleopatra (NL) El Encuentro de Antonio y Cleopatra (ES) Встреча Антония и Клеопатры (RU) एंटनी और क्लियोपेट्रा की बैठक (HI) 安东尼和克莉奥佩特拉会议 (ZH) O Encontro de Antônio e Cleópatra (PT)

(c) 2019 meisterdrucke.uk