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Sigismunda Drinking the Poison, 1897 (tempera on linen)
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Sigismunda Drinking the Poison, 1897 (tempera on linen)
BIR189263 Sigismunda Drinking the Poison, 1897 (tempera on linen) by Southall, Joseph Edward (1861-1944); 58.5x43 cm; Birmingham Museums and Art Gallery; (add.info.: model was Anna Elizabeth Baker, the artists wife; from the Decameron by Boccaccio; daughter of Tancred, Prince of Salerno who discovered her love for Guiscardo, killed him and sent his heart to her; she in turn killed herself in front of her maids; ); English, out of copyright
Media ID 23200080
© Bridgeman Images
Gismonda Heartbroken Love Letter Lover Medieval Costume Suicide Beds Sigismonda
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The captivating print titled "Sigismunda Drinking the Poison" depicts a poignant scene from Joseph Edward Southall's tempera on linen painting. Created in 1897, this artwork measures 58.5x43 cm and is housed at the Birmingham Museums and Art Gallery. Inspired by Boccaccio's Decameron, the painting portrays Sigismunda, played by Anna Elizabeth Baker (the artist's wife), as she tragically drinks poison. The story revolves around Sigismunda, daughter of Tancred, Prince of Salerno, who falls deeply in love with Guiscardo. However, their forbidden love leads to tragedy when Tancred discovers their affair and kills Guiscardo. In despair, Sigismunda takes her own life in front of her maids. This image captures the heartbreak and anguish that consumes Sigismunda as she contemplates ending her life. Her profile is beautifully depicted against a backdrop of medieval-inspired furniture and furnishings. A golden goblet symbolizes both luxury and doom as it holds the fatal potion. Southall masterfully conveys emotion through his use of color and composition in this piece. The viewer cannot help but be drawn into Sigismunda's sorrowful tale through this powerful portrayal. This print serves as a reminder of the enduring power of art to evoke deep emotions within us all – reminding us that even centuries-old stories can still resonate with contemporary audiences today.
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