Horatius Cocles vermoordt zijn zuster 1818

Editor: Here we have Bartolomeo Pinelli's ink drawing, "Horatius Cocles Killing His Sister," created in 1818. The flurry of figures immediately conveys chaos. What’s your perspective on the story Pinelli is trying to tell us here? Curator: Oh, this one gets the blood pumping, doesn't it? I find the energy in Pinelli's lines almost violent. See how he renders each figure with this incredible, almost frantic, detail? You get swept up in the raw emotion. Legend says Horatius killed his sister for mourning the enemy, prioritizing Rome above kin. Pinelli isn't just showing an event; he's digging into the heart of civic duty versus personal feeling. Do you sense any hesitation in Horatius' stance? Editor: I see the tension in his posture; he doesn't appear resolute. So, is Pinelli questioning the glory of ancient Rome? Curator: Perhaps. Or he’s revealing the cracks in the foundation. It's easy to get lost in grand narratives, but Pinelli forces us to look at the brutal realities, the human cost of even the noblest ideals. It reminds me of Caravaggio - dramatic storytelling, unafraid of showing the grit. Are there details that jump out at you? Something you find striking in Pinelli’s composition, beyond the main subject? Editor: I’m struck by how everyone is crowded together – almost claustrophobic. But it makes the central action that much more arresting. It feels like a turning point for the city. Curator: Exactly! He has masterfully used the human form to talk about culture, history and power. I think next time I teach narrative-art, I will focus my class on this powerful drawing. Editor: I will certainly look at history paintings with new eyes.