Tarquinius Superbus 1867

Curator: This painting’s heavy, almost somber palette creates a very unsettling feeling; a feeling of dread hangs in the air. Editor: And what you are looking at is *Tarquinius Superbus* painted by Lawrence Alma-Tadema in 1867. Curator: Alma-Tadema, yes. Fascinating how he positions Tarquinius, cloaked, almost stage right, engaging with figures in togas who carry what appears to be some kind of offering. How might we unpack this scene from a sociopolitical lens, understanding power dynamics, gendered roles, and how identity intersects? Editor: It’s worth mentioning Alma-Tadema's obsessive approach to ancient cultures. He sourced materials similar to those present in classical antiquity. But let's discuss what this chopping motion signifies, or better yet what material remnants this chopping is leaving on the other materials presented in the work. Curator: The historical narrative is key here; we must think beyond this almost domestic-seeming scene. The story depicts Tarquinius, the arrogant tyrant, receiving counsel to eliminate the most prominent citizens to secure his reign. The act of lopping off poppy heads is laden with meaning – the symbolism of silencing dissent, the brutal exercise of autocratic power, a metaphor for oppression, especially pertinent to discussions about modern-day authoritarian regimes. Editor: He really renders this action precisely. Note how the figures and props work. Look at the almost marble-like surface of the robe versus the way the poppy itself yields. Curator: We can see how academic art and realist tendencies merge here to present the figure. Editor: It’s this material tension that truly elevates this work for me – the contrast, the method of depicting and creating the overall symbolic form. Alma-Tadema shows that an event of significant magnitude is just this act performed by hands onto objects. It shows an ability to deconstruct power itself as it is tied to everyday actions. Curator: Exactly, and viewing it through our current understanding of identity and oppression adds new, critical layers of meaning. Editor: Materially and theoretically it has certainly left its mark. Curator: I completely agree, the narratives that the objects in the artwork trigger are hard to ignore.