Et in Arcadia Ego
Guercino
Giovanni Francesco Barbieri, best known as Guercino, or il Guercino [ɡwerˈtʃiːno], was an Italian Baroque painter and draftsman from the region of Emilia, and active in Rome and Bologna.
Max Resolution:1031×867 PX
Title:Et in Arcadia Ego
Artists:Guercino
Date:1622
Style:Baroque
Genre:religious painting
Medium:oil,canvas
Location:National Gallery of Ancient Art (GNAA), Rome, Italy
Dimensions:91×81 cm
Copyright:Public domain
Et in Arcadia ego (also known as The Arcadian Shepherds) is a painting by the Italian Baroque artist Giovanni Francesco Barbieri (Guercino), from c. 1618–1622. It is now on display in the Galleria Nazionale d'Arte Antica of Rome.
The painting shows two young shepherds staring at a skull, with a mouse and a blowfly, placed onto a cippus with the words Et in Arcadia ego ("I too [was] in Arcadia"). The phrase appears for the first time in art and architecture in this work. The iconography of the memento mori theme symbolised in art by the skull was rather popular in Rome and Venice since Renaissance times.
Elias L. Rivers suggested the phrase "Et In Arcadia Ego" is derived from a line from Daphnis' funeral in Virgil's Fifth Eclogue Daphnis ego in silvis ("Daphnis was I amid the woods"), and that it referred to the dead shepherd within the tomb, rather than Death itself.
Mentioned for the first time in the collection of Antonio Barberini in 1644, the painting was later acquired by Colonna of Sciarra (1812), being attributed to Bartolomeo Schedoni until 1911. Nicolas Poussin also made two paintings on the topic of Et in Arcadia Ego, less than two decades later.
The painting is connected with Guercino's Flaying of Marsyas by Apollo in Palazzo Pitti (1618), where the same group of shepherds is present.
Goethe's Italian Journey (1816) has "Et In Arcadia Ego" as its motto. Goethe viewed Guercino's painting in Cento (17 October 1786).
Hans Christian Andersen's "Improvisatoren" (1835) in chapter 13 two of the main characters discuss the painting.
The painting shows two young shepherds staring at a skull, with a mouse and a blowfly, placed onto a cippus with the words Et in Arcadia ego ("I too [was] in Arcadia"). The phrase appears for the first time in art and architecture in this work. The iconography of the memento mori theme symbolised in art by the skull was rather popular in Rome and Venice since Renaissance times.
Elias L. Rivers suggested the phrase "Et In Arcadia Ego" is derived from a line from Daphnis' funeral in Virgil's Fifth Eclogue Daphnis ego in silvis ("Daphnis was I amid the woods"), and that it referred to the dead shepherd within the tomb, rather than Death itself.
Mentioned for the first time in the collection of Antonio Barberini in 1644, the painting was later acquired by Colonna of Sciarra (1812), being attributed to Bartolomeo Schedoni until 1911. Nicolas Poussin also made two paintings on the topic of Et in Arcadia Ego, less than two decades later.
The painting is connected with Guercino's Flaying of Marsyas by Apollo in Palazzo Pitti (1618), where the same group of shepherds is present.
Goethe's Italian Journey (1816) has "Et In Arcadia Ego" as its motto. Goethe viewed Guercino's painting in Cento (17 October 1786).
Hans Christian Andersen's "Improvisatoren" (1835) in chapter 13 two of the main characters discuss the painting.