Who painted Battle of Poitiers, 25 October 732?

Battle of Poitiers, 25 October 732 was painted by Baron Charles de Steuben in 1834.

Where can I see Battle of Poitiers, 25 October 732?

Battle of Poitiers, 25 October 732 is held by Cleveland Museum of Art.

What movement is Battle of Poitiers, 25 October 732?

Battle of Poitiers, 25 October 732 is associated with Romanticism.

Can I buy a print of Battle of Poitiers, 25 October 732?

Museum-quality prints of Battle of Poitiers, 25 October 732 are available made-to-order from Artifact World Gallery.

Artwork

Battle of Poitiers, 25 October 732

Baron Charles de Steuben , 1834

Battle of Poitiers, 25 October 732 is an unspecified painting by the Romanticist artist Baron Charles de Steuben. It dates from 1834 and is held in the collection of the Cleveland Museum of Art.

About this work

Overview

Baron Charles de Steuben’s canvas, painted around 1834, depicts the historic clash known as the Battle of Poitiers on 25 October 732. The work is part of the Cleveland Museum of Art’s collection and presents a turbulent battlefield where mounted and foot soldiers engage in close combat under a cloudy sky.

Subject & Meaning

The composition captures the moment of intense confrontation between Frankish forces and the Umayyad army, emphasizing the chaos of medieval warfare. By foregrounding rearing horses and clashing swords, the painting conveys the uncertainty and violence that characterized the encounter, inviting viewers to contemplate the broader implications of this early medieval turning point.

Technique & Style

Steuben employs a palette dominated by browns and grays, creating a dusty atmosphere that heightens the sense of disorder. Loose, expressive brushwork animates the figures and mounts, while the distant mountains and stormy sky provide a muted backdrop, aligning the work with Romantic sensibilities that prioritize emotion and movement over precise detail.

History & Provenance

Executed in the early 1830s, the painting entered the Cleveland Museum of Art’s holdings in the twentieth century, though the exact acquisition date is not recorded in the provided material. Its presence in an American institution reflects the 19th‑century European interest in historic subjects that resonated with transatlantic audiences.