Who painted The Assassination and Funeral of Julius Caesar?

The Assassination and Funeral of Julius Caesar was painted by Apollonio di Giovanni in 1457.

Where can I see The Assassination and Funeral of Julius Caesar?

The Assassination and Funeral of Julius Caesar is held by Ashmolean Museum.

What movement is The Assassination and Funeral of Julius Caesar?

The Assassination and Funeral of Julius Caesar is associated with Early Renaissance.

Artwork

The Assassination and Funeral of Julius Caesar

Apollonio di Giovanni , 1457

The Assassination and Funeral of Julius Caesar is an unspecified painting by the Early Renaissance artist Apollonio di Giovanni. It dates from 1457 and is held in the collection of the Ashmolean Museum.

About this work

Overview

Apollonio di Giovanni’s 1457 panel, titled *The Assassination and Funeral of Julius Caesar*, is part of the Ashmolean Museum’s collection. The work presents a multi‑scene narrative that moves from the slain Caesar’s body to a ceremonial procession and finally to a formal gathering around a seated figure, all rendered in a unified composition.

Subject & Meaning

The painting juxtaposes the violent climax of Caesar’s murder with the orderly rites that follow, reflecting Renaissance interest in classical history and moral exempla. By arranging the assassination, the funeral procession, and a courtly assembly within a single frame, the artist invites contemplation of power, loyalty, and the transition from chaos to civic order.

Technique & Style

Executed in tempera on panel, the scene is distinguished by meticulous rendering of fabrics and architectural details. The figures wear contemporary Renaissance attire, allowing the viewer to relate ancient events to 15th‑century society. A restrained palette of browns and grays unifies the composition, while fine brushwork delineates intricate patterns on garments and stonework.

History & Provenance

Created in 1457, the panel entered the Ashmolean Museum’s holdings through a 19th‑century acquisition of a Florentine collection. Its attribution to Apollonio di Giovanni rests on stylistic parallels with other works from his workshop, confirming its place within the artist’s mature period.