Nicolas Poussin Drew His Artistic Inspiration From
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Nicolas poussin drew his artistic inspiration from Continue Nicolas Poussin Rape Europe Selling Date: July 8, 2020 Auction Closed Circle Nicolas Poussin Untitled Sale Date: July 2, 2020 Auction Closed Circle Nicolas Poussin Char de triomphe Sale Date: 19 May 2020 Auction Closed Attributed to Nicolas Poussin BACCHANAL Sale Date: 27 June 2019 Auction Closed Paris from the point of view of Poussin, his visit to Paris was a disaster. After a short period of happiness as a result of the enthusiastic reception given to him by the King, Cardinal and Surintendant des Bariments, Sublet des Noyers - who agreed to put him at the head of all artistic and decorative works in the royal palaces - Poussin soon realized that the tasks he was called to perform were completely inconsistent with him : the great altars (Institute de l'Eucharist for Saint-Germain as in the Louvre), large allegorical paintings for Cardinal Richelieu (Time Revealing Truth with Envy and Discord (1640-2) Louvre; Burning Bush, Staten Kunstumsem, Copenhagen) and, in particular, the decoration of the Long Gallery of the Louvre (not completed, later destroyed). His difficulties were magnified by the hostile intrigues of the influential first artist King Simon Vue (1590-1649), another Italian art student who returned to Paris in 1627, and other artists who believed that their livelihoods were in danger of Poussin's arrival. At the end of 1642 he left Paris, ostensibly only to take his wife. However, it was clear that he had no desire to return, and the situation was soon resolved by richelieu's death, which was soon followed by the King's situation. The only positive element of Poussin's stay in Paris was that it allowed him to strengthen his contacts with some French collectors who were to be his best patrons in his later years. Of these, the most important was Paul Freart de Chantelou, Secretary of Subalat de Neuers. See also the leading French Baroque artist, George de la Tour (1593-1652), as well as realistic peasant scenes painted by Le Nain Brothers (c.1600-48), in the first half of the 17th century. Returning to Rome Ten years after his return to Rome, Poussin established himself as one of the leading artists in Europe, and completed a series of works on which his reputation rested for two centuries after his death. See, for example, its impact on the Neapolitan School of Painting (c.1600-56). The most famous of these was the second set of canvases representing the seven ordinances written for Chantelou 1644-1648: they include, Confirmation (1645), Epiphany of Christ (1647), Ordination (1647), Eucharist (1647) National Gallery of Scotland, Edinburgh, Marriage of the Virgin (1647) - all in the National Gallery of Scotland, Scotland, Scotland These pictures intensifies the solemnity already evident in the first series. Monumental works are based on strict symmetry and ideal spatial planning. The figures have the gravitas of marble statues; colors are clear, gestures are clear, and all inconsequential are eliminated. Poussin intended to depict objects in accordance with the doctrines and liturgy of the early Christian Church, a design in which he was assisted by his scholarly friends in Rome, as well as the study of burial caskets and frescoes that were recently discovered during the excavation of the catacombs. Other works included Baby Moses rescued from the river (1647, Louvre); Eliezer and Rebecca (1648, Louvre); Solomon's Court (1649, Louvre); Christ and a woman taken in adultery (1653, Louvre); and St. Peter and St. James's Cure the Lame Man (1655, Metropolitan Museum of Art, New York). First of all, Poussin was attracted by situations when the moral characters of his subjects were revealed and exposed themselves, almost as on stage. He had a box of wax figures that he created to build his composition, then made preliminary sketches, and only when he was satisfied, he would begin to draw. Thus, in addition to his Christian art, he created a series of paintings depicting pagan subjects. Inspired by Poussin's own stoic philosophy, the paintings illustrate events from the life of Plutarch or topics with moral lessons such as the Covenant of Evdamidas (1643-44) Staten Kunstumuseum, Copenhagen, even if you take it from non-stashistic writers. Like many of his contemporaries in Rome, Poussin saw little contradiction between the ethics of stoicism and the ethics of Christianity. Landscape painting In the 1640s, Poussin also explored the beauty of nature. Although in his earlier oil painting the landscape is a secondary element, now it acquires a new meaning. Sometimes, as in two canvases illustrating the history of Phocion - Landscape with the funeral of Phocion (1648-1650) National Museum of Wales; Landscape with CinderellaS OfSon (1647) Walker Art Gallery, Liverpool - State trees and a classic city in the background are used to highlight the grandeur of the character of the hero. In Diogenes (Diogenes) (Louvre) lush vegetation expresses the philosophical ideal of nature as the source of all abundant things necessary for human happiness. In the mysterious Landscape with a man running from the Snake (1648, National Gallery, London) there is no obvious theme, but the landscape expresses the mysterious forces of nature, more powerful than man. This sense of irresistible mystery and strength of nature is the main characteristic of the landscapes that Poussin painted in the last years of his life. In Landscape with the Blind Orion in Search of the Sun (1658, Metropolitan Museum of New York) humanity is nothing - even the mighty Orion itself dwarf large oaks, among which he moves. Here Poussin referred to the cyclical processes of nature - in this case the source of clouds and rain, fertilizing forces in nature. Similar motifs are found in La Naissance de Bacchus (The Birth of Bacchus) (Cambridge, Massachusetts, Fogg Art Museum) and in his last work, Apollo and Daphne (Apollo and Daphne) (1664, Louvre). Recent paintings This allegorical landscape painting is perhaps the most memorable of Poussin's later works, but he has not given up religious subjects at all. His last figure paintings in some ways continue the themes of the 1640s, but they have a remote detachment and monumental serenity that are quite distinctive: see, for example, the Holy Family (1650, Harvard University Museum of Art, Cambridge, Massachusetts); Death of The Sapphires (1652, Louvre); Rest on a flight to Egypt (1655-1657, Hermitage, St. Petersburg). The most important work of this late Roman period is his series Four Seasons (1660-64, Louvre), written for Duke de Richelieu. In this Poussin creates a synthesis of all elements of his late style. The Biblical narrative is now combined with allusions to classical mythology and medieval theories. Poussin's legacy and reputation began to suffer from ill health in 1650. He eventually died in 1665 at the age of 71. When he died, he was revered in artistic circles, but he was neither loved nor imitated. He was disliked because of his echo, his unwavering personality and his less merciful attitude towards other artists. In addition, he became a kind of recluse, seeing only a few close friends, and remaining fully devoted to his art. The fact that he was not imitated was because - unlike all his Roman contemporaries - he never used assistants and never created a studio. Finally, his style of painting was designed solely to satisfy his own delicate sensibility and the circle of his intimate relationships and admirers, and in fact completely contrary to the current taste in Rome. In Paris, and especially at the French Academy of Fine Arts (Academy Royale de Peinture et de Sculpture), Poussin's name came second after Raphael. He was a model, created in front of all young students for whom his work served as important guides to the nature of art. Despite this, even Vuet's successor Charles Le Brun (1619-90), the arbiter of good taste under Louis XIV, and his fellow academics could not understand the real qualities of Poussin's recent works. As it was, the situation soon changed. Moderns - defenders of color, as opposed to drawing - defied the Ancients and their superiority of Raphael and Poussin to press the counterclaims of Rubens and the Venetians. As a result, by 1700, the more inventive artists working in Paris had moved on to a very different concept which was, in fact, a pretty antipathic antipathic Poussin's style. As the pendulum of taste swung back into classicism, in the late 18th century, however, Poussin's fate rose once again, bringing neoclassical pioneers like Joseph-Marie Vienne (1716-1809) and, above all, his disciple Juak-Louis David (1748-1825) to proclaim him a genius. David, the leader of neoclassical painting, in every way empathized with Poussin's classical rigor, clarity, order and logical attitude to his works. Among the artists of the next generation it was natural that one of his heroes should have called him one of his heroes, but it is revealing the ambiguous relationship between neoclassicism and romanticism at this stage that Delacroix (1798-1863) had to show almost equal enthusiasm for him, and had to write one of the most insightful essays in his honor. He continued to be revered by Ingres's followers, but he had a much more fruitful influence on artists such as Edgar Degas (1834-1917) and Paul Cezanne (1839-1906), who did not try to copy his style, but instead applied the principles underlying his classical French painting to issues that were real to them and relevant to the art of their age. Unfortunately, a number of Poussin's paintings did not stand the test of time, because the color in them disappeared or changed.