Nicolas Poussin
Nicolas Poussin | |
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Et in Arcadia ego, 1637–1638 | |
Movement | Classicism Baroque |
Signature | |
Nicolas Poussin (
Details of Poussin's artistic training are somewhat obscure. Around 1612 he traveled to Paris, where he studied under minor masters and completed his earliest surviving works. His enthusiasm for the Italian works he saw in the royal collections in Paris motivated him to travel to Rome in 1624, where he studied the works of Renaissance and
He was persuaded to return to France in 1640 to be First Painter to the King but, dissatisfied with the overwhelming workload and the court intrigues, returned permanently to Rome after a little more than a year. Among the important works from his later years are Orion Blinded Searching for the Sun, Landscape with Hercules and Cacus, and The Seasons.
Biography
Early years – Les Andelys and Paris
Nicolas Poussin's early biographer was his friend Giovanni Pietro Bellori,[3] who relates that Poussin was born near Les Andelys in Normandy and that he received an education that included some Latin, which would stand him in good stead. Another early friend and biographer, André Félibien, reported that "He was busy without cease filling his sketchbooks with an infinite number of different figures which only his imagination could produce."[4] His early sketches attracted the notice of Quentin Varin, who passed some time in Andelys, but there is no mention by his biographers that he had a formal training in Varin's studio, though his later works showed the influence of Varin, particularly by their storytelling, accuracy of facial expression, finely painted drapery and rich colors.[5] His parents apparently opposed a painting career for him, and In or around 1612, at the age of eighteen, he ran away to Paris.[4]
He arrived in Paris during the regency of
His early sketches gained him a place in the studios of established painters. He worked for three months in the studio of the Flemish painter Ferdinand Elle, who painted almost exclusively portraits, a genre that was of little interest to Poussin.[7] Afterward, he is thought to have studied for one month in the studio of Georges Lallemand, but Lallemand's inattention to precise drawing and the articulation of his figures apparently displeased Poussin.[7] Moreover, Poussin did not fit well into the studio system, in which several painters worked on the same painting. Thereafter he preferred to work very slowly and alone.[6] Little is known of his life in Paris at this time. Court records show that he ran up considerable debts, which he was unable to pay. He studied anatomy and perspective, but the most important event of his first residence in Paris was his discovery of the royal art collections, thanks to his friendship with Alexandre Courtois, the valet de chambre of Marie de Medicis. There he saw for the first time engravings of the works of Giulio Romano and especially of Raphael, whose work had an enormous influence on his future style.[8]
He first tried to travel to Rome in 1617 or 1618, but made it only as far as Florence, where, as his biographer Bellori reported, "as a result of some sort of accident, he returned to France."[9][10] On his return, he began making paintings for Paris churches and convents. In 1622 made another attempt to go to Rome, but went only as far as Lyon before returning. In the summer of the same year, he received his first important commission: the Order of Jesuits requested a series of six large paintings to honor the canonization of their founder, Saint Francis Xavier. The originality and energy of these paintings (since lost) brought him a series of important commissions.[11]
First residence in Rome (1624–1640)
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Death of Germanicus, 1628, Minneapolis Institute of Art
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Venus and Adonis, c. 1628–1629, Kimbell Art Museum
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The Inspiration of the Poet, 1629–30, Louvre
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The Martyrdom of Saint Erasmus 1630,Vatican Museum
Poussin was thirty when he arrived in Rome in 1624. The new Pope,
Poussin became acquainted with other artists in Rome and tended to befriend those with classicizing artistic leanings: the French sculptor
The early years of Poussin in Rome were difficult. His patron Marino departed Rome for Naples in May 1624, shortly after Poussin arrived, and died there in 1625. His other major sponsor, Cardinal Francesco Barberini, was named a papal legate to Spain and also departed soon afterwards, taking Cassiano dal Pozzo with him. Poussin became ill with syphilis, but refused to go to the hospital, where the care was extremely poor, and he was unable to paint for months. He survived by selling the paintings he had for a few ecus. Thanks to the assistance of a chef, Jacques Dughet, whose family took him in and cared for him, he largely recovered by 1629, and on 1 September 1630 he married Anne-Marie Dughet, the daughter of Dughet.[15][17] His two brothers-in-law were artists, and Gaspard Dughet later took Poussin's surname.[19]
Cardinal Barberini and Cassiano dal Pozzo returned to Rome in 1626, and by their patronage Poussin received two major commissions. In 1627, Poussin painted The Death of Germanicus (
The success of the Germanicus led to an even more prestigious commission in 1628 for an altarpiece depicting the Martyrdom of St. Erasmus, for the Erasmus Chapel in the basilica of St. Peter's (now in the Vatican Pinacoteca). The Fabricca di San Pietro had originally awarded the commission to Pietro da Cortona, who had produced only preliminary designs for the altarpiece when he was unexpectedly transferred to another project. Thanks to Cassiano dal Pozzo's influence, Poussin was chosen to paint the Saint Erasmus altarpiece, following Pietro da Cortona's original design.
With its plunging diagonal composition and high narrative drama, the Martyrdom of St. Erasmus is Poussin's most overtly "baroque" work.[22] Despite its adherence to the pictorial idiom of the day, for unknown reasons, the Martyrdom of St. Erasmus seems to have met with official displeasure and generated no further papal commissions.[23] This disappointment, and the loss of a competition for a fresco cycle in San Luigi dei Francesi, convinced Poussin abandon the pursuit of large-scale, public commissions and the burdensome competitions, content restrictions, and political machinations they entailed. Instead, Poussin would re-orient his art towards private collectors, for whom he could work more slowly, with increasing control over subject matter and style.
Along with Cardinal Barberini and Cassiano dal Pozzo, for whom he painted the first Seven Sacraments series, Poussin's early private patrons included the Chanoine Gian Maria Roscioli, who bought The Young Pyrrhus Saved and several other important works; Cardinal Rospigliosi, for whom he painted the second version of The Shepherds of Arcadia; and
Buoyed by this commercial success, Poussin bought a life interest in a small house on Via Paolina (Babuino) for his wife and himself in 1632 and entered his most productive period.[24] His house was at the foot of Trinité des Monts, near the city gate, where other foreigners and artists lived; its exact location is not known but it was opposite the church of Sant'Atanasio dei Greci.[17]
Return to France (1641–42)
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The Miracle of Saint Francis Xavier, 1641, Louvre
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Time defending Truth from the attacks of Envy and Discord, for the study of Cardinal Richelieu, 1642, Louvre
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Frontispiece for the works of Virgil for the royal printing house, 1641, Metropolitan Museum
As the work of Poussin became well known in Rome, he received invitations to return to Paris for important royal commissions, proposed by Sublet de Noyers, the Superintendent of buildings for
The correspondence of Poussin to Cassiano dal Pozzo and his other friends in Rome show that he was appreciative of the money and honors, but he was quickly overwhelmed by a large number of commissions, particularly since he had taken the habit of working slowly and carefully. His new projects included The Institution of the Eucharist for the chapel of the
Final years in Rome (1642–1665)
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Landscape with Orpheus and Eurydice, 1650–51
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The Four Seasons (Summer), 1660–1664, Louvre
When he returned to Rome in 1642, he found the art world was in transition. Pope Urban VIII died in 1644, and the new Pope,
In 1647, André Félibien, the secretary of the French Embassy in Rome, became a friend and painting student of Poussin, and published the first book devoted entirely to his work. His growing number of French patrons included the Abbé Louis Fouquet, brother of Nicolas Fouquet, the celebrated superintendent of finances of the young Louis XIV. In 1655 Fouquet obtained for Poussin official recognition of his earlier title as First Painter of the King, along with payment for his past French commissions. To thank Fouquet, Poussin made designs for the baths Fouquet was constructing at his château at Vaux-le-Vicomte.[28]
Another important French patron of Poussin in this period was Paul Fréart de Chantelou, who came to Rome in 1643 and stayed there for several months. He commissioned from Poussin some of his most important works, including the second series of the Seven Sacraments, painted between 1644 and 1648, and his Landscape with Diogenes.[29] In 1649 he painted the Vision of St Paul for the comic poet Paul Scarron, and in 1651 the Holy Family for the duc de Créquy. Landscapes had been a secondary feature of his early work; in his later work nature and the landscape was frequently the central element of the painting.[30]
He lived an austere and comfortable life, working slowly and apparently without assistants. The painter Charles Le Brun joined him in Rome for three years, and Poussin's work had a major influence on Le Brun's style. In 1647, his patrons Chantelou and Pointel requested portraits of Poussin. He responded by making two self-portraits, completed together in 1649.[31]
He suffered from declining health after 1650, and was troubled by a worsening tremor in his hand, evidence of which is apparent in his late drawings.[32] Nonetheless, in his final eight years he painted some of the most ambitious and celebrated of his works, including The Birth of Bacchus, Orion Blinded Searching for the Sun, Landscape with Hercules and Cacus, the four paintings of The Seasons and Apollo in love with Daphné.
His wife Anne-Marie died in 1664, and thereafter his own health sank rapidly. On 21 September he dictated his will, and he died in Rome on 19 November 1665 and was buried in the church of San Lorenzo in Lucina.[33]
Subjects
Each of Poussin's paintings told a story. Though he had little formal education, Poussin became very knowledgeable in the nuances of religious history, mythology and classical literature, and, usually after consulting with his clients, took his subjects from these topics. Many of his paintings combined several different incidents, occurring at different times, into the same painting, in order to tell the story, and the affetti, or facial expressions of the participants, showed their different reactions.[34] Aside from his self-portraits, Poussin never painted contemporary subjects.[35]
Religion
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Massacre of the Innocents, 1625–1629, Musée Condé, Chantilly
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The Seven Sacraments – Ordination, 1647, Louvre
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The Judgement of Solomon, 1649, Louvre
Religion was the most common subject of his paintings, as the church was the most important art patron in Rome and because there was a growing demand by wealthy patrons for devotional paintings at home. He took a large part of his themes from the
His religious paintings were sometimes criticized by his rivals for their variation from tradition. His painting of Christ in the sky in his painting of Saint Francis-Xavier was criticized by partisans of Simon Vouet for having "Too much pride, and resembling the god Jupiter more than a God of Mercy". Poussin responded that "he could not and should not imagine a Christ, no matter what he is doing, looking like a gentle father, considering that, when he was on earth among men, it was difficult to look him in the face".[36]
The most famous of his religious works were the two series called The Seven Sacraments, representing the meaning of the moral laws behind each of the principal ceremonies of the church, illustrated by incidents in the life of Christ. The first series was painted in Rome by his major early patron, Cassiano dal Pozzo, and was finished in 1642. It was viewed by his later patron, Paul Fréart de Chantelou, who asked for a copy. Instead of making copies, Poussin painted an entirely new series of paintings, which was finished by 1647. The new series had less of the freshness and originality of the first series, but was striking for its simplicity and austerity in achieving its effects; the second series illustrated his mastery of the balance of the figures, the variety of expressions, and the juxtaposition of colors.[37]
Mythology and classical literature
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The Empire of Flora, 1631, Gemäldegalerie Dresden
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Apollo and Daphne, 1664, Louvre
Classical Greek and Roman mythology, history and literature provided the subjects for many of his paintings, particularly during his early years in Rome. His first successful painting in Rome, The Death of Germanicus, was based upon a story in the Annals of
Throughout his career, Poussin frequently achieved what the art historian
In his later years, his mythological paintings became more somber, and often introduced the symbols of mortality and death. The last painting he was working on before his death was Apollo in love with Daphne, which he presented to his patron, the future Cardinal Massimi, in 1665. The figures on the left of the canvas, around Apollo, largely represented vitality and life, while those on the right, around Daphne, were symbols of sterility and death. He was unable to complete the painting because of the trembling of his hand, and the figures on the right are unfinished.[40]
Poetry and allegory
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Renaud et Armide, 1635, Pushkin Museum
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Et in Arcadia ego (The Shepherds of Arcadia), second version, late 1630s, Louvre
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A Dance to the Music of Time, 1640, Wallace Collection, London
Besides classical literature and myth, he drew often from works of the romantic and heroic literature of his own time, usually subjects decided in advance with his patrons. He painted scenes from the epic poem Jerusalem Delivered by Torquato Tasso (1544–1595), published in 1581, and one of the most popular books in Poussin's lifetime. His painting Renaud and Armide illustrated the death of the Christian knight Arnaud at the hands of the magician Armide. who, when she saw his face, saw her hatred turn to love. Another poem by Tasso with a similar theme inspired Tancred and Hermiene; a woman finds a wounded knight on the road, breaks down in tears, then finds the strength through love to heal him.[41]
Allegories of death are common in Poussin's work. One of the best-known examples is
A fertile source for Poussin was Cardinal Giulio Rospigliosi, who wrote moralistic theatrical pieces which were staged at the Palace Barberini, his early patron. One of his most famous works, A Dance to the Music of Time, was inspired by another Rospigliosi piece. According to his early biographers Bellori and Felibien, the four figures in the dance represent the stages of life: Poverty leads to Work, Work to Riches, and Riches to Luxury; then, following Christian doctrine, luxury leads back to poverty, and the cycle begins again. The three women and one man who dance represent the different stages and are distinguished by their different clothing and headdresses, ranging from plain to jeweled. In the sky over the dancing figures, the chariot of Apollo passes, accompanied by the Goddess Aurora and the Hours, a symbol of passing time.[42]
Landscapes and townscapes
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Landscape with Pyramus and Thisbe, 1651,Städel
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The Death of Sapphira, 1654, Louvre
Poussin is an important figure in the development of
Between 1650 and 1655, Poussin also painted a series of paintings now often called "townscapes", where classical architecture replaces trees and mountains in the background. The painting The Death of Saphire uses this setting to illustrate two stories simultaneously; in the foreground, the wife of a wealthy merchant dies after being chastised by St. Peter for not giving more money to the poor; while in the background another man, more generous, gives alms to a beggar.[43]
Style and method
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Bacchanale or Bacchus and Ariadne, 1624–1625,Prado Museum
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The Triumph of David, c. 1630,Prado Museum
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Triumph of Pan, c. 1635, Pen and ink with wash, over black chalk and stylus, Royal Collection
Throughout his life Poussin stood apart from the popular tendency toward the decorative in French art of his time. In Poussin's works a survival of the impulses of the Renaissance is coupled with conscious reference to the art of classical antiquity as the standard of excellence. Rejecting the emotionalism of Baroque artists such as Bernini and Pietro da Cortona, he emphasized the cerebral.[44] His goal was clarity of expression achieved by disegno or 'nobility of design' in preference to colore or color.[45]
During the late 1620s and 1630s, he experimented and formulated his own style. He studied the Antique as well as works such as
In contrast to the warm and atmospheric style of his early paintings, Poussin by the 1630s developed a cooler palette, a drier touch, and a more stage-like presentation of figures dispersed within a well defined space.[12] In The Triumph of David (c. 1633–34; Dulwich Picture Gallery), the figures enacting the scene are arranged in rows that, like the architectural facade that serves as the background, are parallel to the picture plane.[12] The violence of The Rape of the Sabine Women (c. 1638; Louvre) has the same abstract, choreographed quality seen in A Dance to the Music of Time (1639–40).[12]
Contrary to the standard studio practice of his time, Poussin did not make detailed figure drawings as preparation for painting, and he seems not to have used assistants in the execution of his paintings.
Legacy
In the years following Poussin's death, his style had a strong influence on French art, thanks in particular to Charles Le Brun, who had studied briefly with Poussin in Rome, and who, like Poussin, became a court painter for the King and later the head of the French Academy in Rome. Poussin's work had an important influence on the 17th-century paintings of Jacques Stella and Sébastien Bourdon, the Italian painter Pier Francesco Mola, and the Dutch painter Gerard de Lairesse.[49]
A debate emerged in the art world between the advocates of Poussin's style, who said the drawing was the most important element of a painting, and the advocates of Rubens, who placed color above the drawing.
The 19th century brought a resurgence of enthusiasm for Poussin. French writers were seeking to create a national art movement and Poussin became one of their heroes: the founding father of the French School; he appears in plays, stories and novels as well as
Cézanne appreciated Poussin's version of classicism. "Imagine how Poussin entirely redid nature, that is the classicism that I mean. What I don't accept is the classicism that limits you. I want that a visit to a master will help me find myself. Every time I leave a Poussin, I know better who I am."[53] Cézanne was described in 1907 by Maurice Denis as "the Poussin of Impressionism".[54] Georges Seurat was another Post-Impressionist artist who admired the formal qualities of Poussin's work.[55]
In the 20th century, some art critics suggested that the analytic
The finest collection of Poussin's paintings today is at the Louvre in Paris. Other significant collections are in the National Gallery in London; the National Gallery of Scotland; the Dulwich Picture Gallery; the Musée Condé, Chantilly; the Hermitage Museum, Saint Petersburg; and the Museo del Prado, Madrid.
Gallery
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Cephalus and Aurora, 1627, National Gallery, London
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Acis and Galatea, 1629, National Gallery of Ireland, Dublin
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Sleeping Venus with Cupid, 1630, Gemäldegalerie Alte Meister, Dresden
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Mars and Venus, c. 1630, Museum of Fine Arts, Boston
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Venus, a Faun and Putti, 1630s, Hermitage Museum, Saint Petersburg
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The Adoration of the Magi, 1633, Dulwich Picture Gallery, London
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The Abduction of the Sabine Women, c. 1633–1634, The Metropolitan Museum of Art
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The Adoration of the Golden Calf, 1633–1634, National Gallery, London
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Helios and Phaeton with Saturn and the Four Seasons, c. 1635
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Diana and Endymion, 1630s, Detroit Institute of Arts
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The Birth of Venus, 1635 or 1636
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The Triumph of Pan, 1636, National Gallery, London
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Sacrament of Ordination (Christ Presenting the Keys to Saint Peter) , c. 1636–1640, Kimbell Art Museum
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Holy Family, c. 1649, National Gallery of Ireland
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Discovery of Achilles on Skyros, c. 1649–1650, Museum of Fine Arts, Boston
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The Holy Family with St Elizabeth and John the Baptist, c. 1655, Hermitage Museum
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Landscape with a Calm, 1650–1651, Getty Center
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The Annunciation, c. 1655–1657, National Gallery, London
See also
- List of paintings by Nicolas Poussin
- Category:Paintings by Nicolas Poussin
- Poussinists and Rubenists
References
Citations
- ISBN 978-1-4058-8118-0.
- ISBN 978-0-521-15255-6.
- ^ His Lives of the Painters was published in Rome, 1672.
- ^ a b Rosenberg & Temperini 1994, p. 14
- ^ Rosenberg & Temperini 1994, p. 15.
- ^ a b Rosenberg & Temperini 1994, p. 16
- ^ a b Keazor 2007, p. 12
- ^ Thompson 1992, p. 7.
- ^ Rosenberg & Temperini 1994, p. 17.
- ^ Wright 1985, p. 250.
- ^ Rosenberg & Temperini 1994, p. 18.
- ^ a b c d e Brigstocke
- ^ Chilvers 2009, p. 496.
- ^ Rosenberg & Temperini 1994, pp. 20–22.
- ^ a b c Rosenberg & Temperini 1994, p. 22
- ^ In a census of 1624 (Friedlaender)
- ^ a b c d e f Sparti, Donatella Livia (1996). La Maison de Nicolas Poussin via del Babuino a Rome in Actes di Colloque. pp. 47–69.
- ^ The British Museum: Collection online
- ^ Blunt 1958, p. 55.
- ^ The Meleager sarcophagus seen by Poussin is that now in the Capitoline Museums.
- ^ Rosenberg & Temperini 1994, pp. 28–29.
- ^ Blunt 1958, pp. 55, 85–88.
- ^ Blunt, Anthony (1967). Nicolas Poussin. Vol. 1. New York: Pantheon. pp. 85–99.
- ^ a b Rosenberg & Temperini 1994, p. 30
- ^ Rosenberg & Temperini 1994, p. 31.
- ^ Rosenberg & Temperini 1994, pp. 33–38.
- ^ Rosenberg & Temperini 1994, pp. 38–40.
- ^ Rosenberg & Temperini 1994, p. 42.
- ^ Wright 1985, p. 211.
- ^ Rosenberg & Temperini 1994, pp. 42–45.
- ^ Rosenberg & Temperini 1994, pp. 44–45.
- ^ Wright 1985, p. 254.
- ^ Rosenberg & Temperini 1994, pp. 48–49.
- ^ a b Rosenberg & Temperini 1994, pp. 51–53
- ^ Carrier, David. "Poussin's Cartesian Meditations: Self and Other in the Self-Portraits of Poussin and Matisse". Notes in the History of Art, vol. 15, no. 3, 1996, pp. 28–35.
- ^ Félibien cited by Rosenberg & Temperini 1994, p. 32
- ^ Rosenberg & Temperini 1994, p. 71.
- ^ Oberhuber, Konrad (1988). Poussin; The Early Years in Rome: The Origins of French Classicism. New York: Hudson Hills Press.
- ^ a b Sauerländer 2016
- ^ Rosenberg & Temperini 1994, pp. 94–95.
- ^ Rosenberg & Temperini 1994, pp. 94–100.
- ^ a b Rosenberg & Temperini 1994, pp. 101–102
- ^ a b Rosenberg & Temperini 1994, pp. 109–127.
- ^ Wright 1985, pp. 49–50.
- ^ Pace.
- ^ Blunt 1958, pp. 54–59.
- ^ Wright 1985, p. 68.
- ^ Rosenberg, Pierre. "Poussin Drawings from British Collections. Oxford". The Burlington Magazine, vol. 133, no. 1056, 1991, pp. 210–213.
- ^ Wright 1985, p. 11.
- ISBN 0500237018
- ^ Facos 2011, pp. 32, 53.
- ^ Rosenberg & Temperini 1994, p. 149.
- ^ a b Rosenberg & Temperini 1994, pp. 147–148.
- ^ Russell 1990.
- ISBN 2010066235
- ^ Wilkin 1995.
- ISBN 1-854-37043-X.
- ISBN 1-903470-27-7
- ISBN 0870993666.
- ^ Keazor 2007, p. 8.
Sources
- Blunt, Anthony (1958). Nicholas Poussin. Phaidon.
- Brigstocke, Hugh. "Poussin, Nicolas". Grove Art Online. Oxford Art Online. Oxford University Press. Web. (subscription required)
- Chilvers, Ian (2009). The Oxford Dictionary of Art and Artists. Oxford: Oxford University Press. ISBN 978-0199532940.
- ISBN 978-1136840715.
- Keazor, Henry (2007). Nicolas Poussin 1594–1665. Hong Kong, Cologne, London et al.: Taschen. ISBN 978-3-8228-5319-1.
- Pace, Claire. "Disegno e colore". Grove Art Online. Oxford Art Online. Oxford University Press. (subscription required)
- Russell, John (4 November 1990). "Art View; Back and Forth Between Poussin and Cezanne". The New York Times. Retrieved 19 December 2015.
- ISBN 2-07-053269-0.
- Sauerländer, Willibald (14 January 2016). "Happy Anniversary, Nicolas Poussin". The New York Review of Books. 63 (1): 46, 48.
- Thompson, James (1992). "Nicolas Poussin". Metropolitan Museum of Art Bulletin. 50 (3). New York: Metropolitan Museum of Art: 1, 3–56. OCLC 27763575.
- Wilkin, Karen (January 1995). "The 'High Art' of Nicolas Poussin". The New Criterion. Retrieved 15 December 2015.
- Wright, Christopher (1985). Poussin Paintings: A Catalogue Raisonné. New York: Hippocrene. ISBN 0-87052-218-3.
Further reading
- Barker, Naomi Joy (2000). "'Diverse Passions': Mode, Interval and Affect in Poussin's Painings". Music in Art: International Journal for Music Iconography. 25 (1–2): 5–24. ISSN 1522-7464.
- OCLC 349831
- ISBN 1-873429-64-9
- Chisholm, Hugh, ed. (1911). "Poussin, Nicolas". Encyclopædia Britannica (11th ed.). Cambridge University Press.
- ISBN 978-0-691-05067-6
- OCLC 2922468
- Keazor, Henry (1998). Poussins Parerga. Quellen, Entwicklung und Bedeutung der Kleinkompositionen in den Gemälden Nicolas Poussins. Schnell & Steiner, Regensburg. ISBN 3-7954-1146-7
- Kimmelman, Michael, "When Poussin Drew for Himself", The New York Times, 23 February 1996. Retrieved 16 February 2013.
- Tina Mansueto, Nicolas Poussin, Il Rinascimento arcadico del XVII secolo, Paolo Loffredo iniziativeditoriali, Naples, 2016, ISBN 9788899306304.
- Mérot, Alain (1990), Nicolas Poussin, Abbeville Press, ISBN 1-55859-120-6
- OCLC 31937184
- Standring, Timothy. "Poussin's Erotica", Apollo (magazine), 2009-03-01. Retrieved 28 May 2009.
- ISBN 2-08-012440-4
- ISBN 1-873232-03-9
- Unglaub, Jonathan (2006). Poussin and the Poetics of Painting: Pictorial Narrative and the Legacy of Tasso. Cambridge and New York: Cambridge University Press, 2006. ISBN 978-0-521-83367-7
Exhibitions
- Paris 1960. "Poussin peintre: retrospectif". Galvanized the renewed interest in Poussin.
- Fort Worth 1988. "Poussin: The Early Years in Rome: The Origins of French Classicism".
- Paris 1994. "Nicolas Poussin 1594–1665" Grand Palais.
- New York City 2008. "Poussin and Nature: Arcadian Visions". Metropolitan Museum of Art; Poussin's landscapes.
- London 2021. "Poussin and the Dance". National Gallery of Art
External links
- Media related to Nicolas Poussin at Wikimedia Commons
- Quotations related to Nicolas Poussin at Wikiquote
- 61 artworks by or after Nicolas Poussin at the Art UK site
- A 16min educational film about Nicolas Poussin
- NicolasPoussin.org – 92 works by Nicolas Poussin
- Herbermann, Charles, ed. (1913). Catholic Encyclopedia. New York: Robert Appleton Company. .
- Julia L. Valiela, "The Baptism of Christ, by Nicolas Poussin (cat. 773),"[permanent dead link] in The John G. Johnson Collection: A History and Selected Works[permanent dead link], a Philadelphia Museum of Art free digital publication.