![]() ![]() 4 While past work has focused on the treatment of high-status prisoners-the foreign leaders paraded in triumphs and royal children held hostage-I look to the other end of the social spectrum to consider what defeat meant for the most marginalized. 3 Did the depiction of capture in war in this scene ring true for them? More specifically, in their varied experience, did everyone in a community, regardless of legal and social standing, suffer the same consequences in defeat? In this article, I test the historicity of this representation of captivity as an equalizer by exploring the evidence for real-life Tyndaruses, those who already held slave status when they were taken as prisoners of war. ![]() Its diverse members might have included people awaiting the return of family and friends taken captive people living side-by-side with captives purchased through the slave market and people that were captives, or former captives, themselves. The audience watching this scene would have had an intimate familiarity with captivity. Defeat in war, this opening scene suggests, was an equal opportunity offender, bringing down the high and low alike. 2 The audience already knows their backstory: the one, Philocrates, had once owned the other, Tyndarus, as his slave, but their hierarchy had been levelled when their city was sacked and they were trafficked, together, on the slave market. 1 In the opening scene, two young men stand on stage, side-by-side, in chains. The uncovered sculptures inspired him into Roman History and continued with Roman History themed paintings even after going back to France.In the aftermath of the long, bloody second punic war, the latin playwright Plautus staged a particularly topical comedy called Captivi ("the Captives"). Gerome was lucky to Visit Pompeii and Herculaneum when new excavations were taking place. He studied painting under Paul Delaroche as his teacher, but his interest in ancient Rome could have grown when he followed his teacher-Paul Delaroche to Rome. Gerome had a lot of interest in art that his father tried to discourage him from studying to become a painter, but he continued. Gerome’s artwork also had a smooth style and a precise linear drawing that left no trace of painting work. The technique that attempts to combine the two styles of Romanticism and Neoclassicism is referred to as Academicism. Most of Gerome’s art was themed in ancient Rome and seemed to combined romanticism, classism and realism. Henry Walters later bequeathed it to the Walters Art Museum of Baltimore. Haggin before Henry Walters purchased it in 1917. Some of the previous owners of the paintings include Boussod Valadon and James B. The current location of the painting is in the Walters Art Museum in Baltimore. The main subject in the painting seems to be the naked woman who attracts who also attracts viewers’ attention before they learn the details of the art. In the image, Gerome depicts different facial expression among the subjects such as humiliation for the naked woman, fear in the sited young man and desire in the people among the crowd. The scene in the artwork could be ancient Rome or the 19th century Istanbul. The naked woman seems humiliated and covers her face with her right wrist, and some people among the crowd are raising their arms ready to give their bids. Next to the young man is a white sheet that was covering the naked woman. The young man sited on the platform next to the trader is covered in a sheet and seems to be terrified as he is next in line. The naked woman is facing the crowd, and her backside is left for the viewer. In the front side of the platform are a crowd -mostly men and a few women all looking at the naked woman standing on the platform. ![]()
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