Vercingetorix Throws down his Arms at the Feet of Julius Caesar, 1899 by Lionel Royer
Canvas Print - 16637-RLI
Location: Musee Crozatier, Le Puy-en-Velay, FranceOriginal Size: 482 x 321 cm
Giclée Canvas Print | $49.21 USD
By using the red up or down arrows, you have the option to proportionally increase or decrease the printed area in inches as per your preference.
*Max printing size: 27.5 x 41.3 in
*Max framing size: Long side up to 28"
"Vercingetorix Throws down his Arms at the Feet of Julius Caesar" will be custom-printed for your order using the latest giclée printing technology. This technique ensures that the Canvas Print captures an exceptional level of detail, showcasing vibrant and vivid colors with remarkable clarity.
Our use of the finest quality, fine-textured canvas lends art reproductions a painting-like appearance. Combined with a satin-gloss coating, it delivers exceptional print outcomes, showcasing vivid colors, intricate details, deep blacks, and impeccable contrasts. The canvas structure is also highly compatible with canvas stretching frames, further enhancing its versatility.
To ensure proper stretching of the artwork on the stretcher-bar, we add additional blank borders around the printed area on all sides.
Our printing process utilizes cutting-edge technology and employs the Giclée printmaking method, ensuring exceptional quality. The colors undergo independent verification, guaranteeing a lifespan of over 100 years.
Please note that there are postal restrictions limiting the size of framed prints to a maximum of 28 inches along the longest side of the painting. If you desire a larger art print, we recommend utilizing the services of your local framing studio.
*It is important to mention that the framing option is unavailable for certain paintings, such as those with oval or round shapes.
If you select a frameless art print of "Vercingetorix Throws down his Arms at the Feet of Julius Caesar" by Lionel Royer, it will be prepared for shipment within 48 hours. However, if you prefer a framed artwork, the printing and framing process will typically require approximately 7-8 days before it is ready to be shipped.
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Painting Information
Lionel Royer’s "Vercingetorix Throws down his Arms at the Feet of Julius Caesar". What a glorious, overstuffed spectacle of Roman might and Gallic pride! If there’s one thing Royer understood, it was the grandiose drama of a historical moment. This isn’t a painting about subtlety - far from it. This is history on steroids, and that’s exactly why it’s so deliciously audacious.
Look at the way Caesar lounges - yes, lounges - on his makeshift throne. Draped in his blood-red cloak, he’s the picture of calculated indifference, almost as if he’s already thinking about his next conquest. Royer doesn’t waste time on emotional complexity here. Caesar is the victor, plain and simple, and the composition reinforces it. His figure is central, glowing with that obnoxious aura of invincibility. His soldiers stand like marble statues around him, all muscle and iron, holding spears like they’ve just stepped out of some Roman propaganda reel.
And then there’s Vercingetorix, the defeated but still defiant. Royer gives him his moment - after all, this is a painting that "pretends" to be about him, right? Perched on his alabaster-white horse, his back is rigid, but his head is high. His whole posture screams: “I’m down, but not broken.” But make no mistake, that sword on the ground is a loud symbol. It’s submission. And yet, there’s a kind of resistance in his defiance, a refusal to fully crumble under Caesar’s gaze.
Now let’s talk color. Royer’s palette - all bold reds and whites, contrasted with the earthiness of armor and dirt - is like a hammer blow. Caesar’s cloak isn’t just red, it’s "RED". The brightest thing on the canvas, it grabs you by the eyeballs and demands attention. Vercingetorix’s white horse, by contrast, glows with a quieter dignity, almost an afterthought to Caesar’s brash dominance. It’s a visual battle, just as much as a historical one.
And the detail! The meticulousness of the armor, the precision in the spearheads, the twisted weapons scattered at the front like leftover props from a battlefield scene. He wants you to feel every ounce of the weight of history pressing down on this moment. But of course, this isn’t history - it’s melodrama. And Royer revels in it.
So, yes, this painting is big, loud, and utterly unapologetic in its theatricality. But it works. It pulls you in, not because of any nuanced exploration of character, but because Royer knows how to put on a show. And what a show it is!