Nicolas Poussin [PDF]

Total Page:16

File Type:pdf, Size:1020Kb

Nicolas Poussin [PDF] Nicolas Poussin Oil Paintings Nicolas Poussin [France, 1594-1665] The Rape of the Sabine Women The Rape of the Sabine Women, detail, oil on canvas, Metropolitan Museum of Art, New York Oil Painting ID: 28710 | Order the painting The Inspiration of the Poet The Inspiration of the Poet, 1636-38, Musée du Louvre, Paris Oil Painting ID: 28711 | Order the painting Et in Arcadia Ego Et in Arcadia Ego, 1638-40, Musée du Louvre, Paris. Oil Painting ID: 28712 | Order the painting The Funeral of Phocion The Funeral of Phocion, 1648, National Museum of Wales Oil Painting ID: 28713 | Order the painting Moses Bringing Forth Water from the Rock Moses Bringing Forth Water from the Rock, detail, 1649, oil on canvas, The Hermitage at St. Petersburg Oil Painting ID: 28714 | Order the painting Jesus Healing the Blind of Jericho Jesus Healing the Blind of Jericho, detail, 1650, oil on canvas, Musée du Louvre, Paris Oil Painting ID: 28715 | Order the painting 1/3 Self- Portrait Self- Portrait, 1650, Musée du Louvre, Paris Oil Painting ID: 28716 | Order the painting Christ and the Woman Taken in Adultery Christ and the Woman Taken in Adultery, detail, 1653, oil on canvas, Musée du Louvre, Paris Oil Painting ID: 28717 | Order the painting Blind Orion Searching for the Rising Sun Blind Orion Searching for the Rising Sun, 1658, oil on canvas, Metropolitan Museum of Art, New York Oil Painting ID: 28718 | Order the painting The Summer Ruth and Boaz The Summer (Ruth and Boaz), 1660-64, oil on canvas, Musée du Louvre, Paris. Oil Painting ID: 28719 | Order the painting Total 7 pages, 2/7 | Page : 1 [2] 3 4 5 Poussin, Nicolas (Nationality : France, 1594-1665) Nicolas Poussin was a French painter who was the founder and greatest practitioner of 17th-century French classical painting. His work symbolizes the virtues of logic, order, and clarity, and it has influenced the course of French art up to the present day. Poussin was of peasant extraction, born near Les Andelys, Normandy, in June 1594. He studied painting in Paris and perhaps also Rouen. In 1624 he went to Rome, where, except for an 18-month sojourn in Paris from 1640 to 1642, he lived for the rest of his life. His early work in Rome reflects the crowded compositions and animated surfaces of mid-16th century Mannerism. About 1630 his style began to change as he drew away from the emerging exuberant baroque style and devoted himself entirely to his passion for the antique, concentrating on biblical and mythological subjects. At first his paintings, such as the Plague at Ashdod (1630-1631, Paris), had the rich, glowing color of the Venetian artist Titian, but after 1633 Poussin moved steadily toward more sober, cool tonalities. His compositions became more serene and his figures more sculptural, echoing the mature paintings of Raphael, while he attempted to depict emotion through easily readable gestures, poses, and facial expressions, as in Adoration of the Golden Calf (1634?, National Gallery, London). His paintings of the next decade, from 1643 to 1653, such as Holy Family on the Steps (1648, National Gallery, Washington, D.C.), following his return to Rome, are the purest embodiment of French classicism. They are characterized by calm, structured composition, cool colors, hard, clear lighting, and a feeling of solemnity. During his last years, from 1653 to 1665, Poussin's style developed and changed. He minimized the actions and facial expressions of his subjects but maintained the emotional intensity of his paintings. Allegory, symbolism, and mysticism played an even greater role than before; his scenes were still, yet vital and intensely personal. Paintings like the Arcadian Shepherd (1656?), in which he attained a monumental simplification and almost supernatural calm, went beyond 2/3 the illustration of historical events to become symbols of eternal verities. Until the 20th century he remained the dominant inspiration of such classically oriented artists as Jacques-Louis David, Jean August Dominique Ingres, and Paul Cezanne. He died in Rome on November 19, 1665. • We provide hand painted reproductions of old master paintings. You will be amazed at their accuracy. • If you can't find what you are looking for? Please Click Here for upload images for quote. • We can also create custom portrait painting especially for you from photos or digital images. Our Passion Is Art And Art Is Our Profession. Your Satisfaction, Our Pursuit Oil Painting Manufacturer - Xiamen RuoYa Arts And Crafts Co., Ltd. Published on OilPaintingOnline.com (http://www.oilpaintingonline.com) URL: http://www.oilpaintingonline.com/htmlartist/artist-292-2.html 3/3.
Recommended publications
  • WAR and VIOLENCE: NEOCLASSICISM (Poussin, David, and West) BAROQUE ART: the Carracci and Poussin
    WAR and VIOLENCE: NEOCLASSICISM (Poussin, David, and West) BAROQUE ART: The Carracci and Poussin Online Links: Annibale Carracci- Wikipedia Carracci's Farnese Palace Ceiling – Smarthistory Carracci - Heilbrunn Timeline of Art History Poussin – Wikipedia Poussin's Et in Arcadia Ego – Smarthistory NEOCLASSICISM Online Links: Johann Joachim Winckelmann - Wikipedia, the free encyclopedia Jacques-Louis David - Wikipedia, the free encyclopedia Oath of the Horatii - Smarthistory David's The Intervention of the Sabine Women – Smarthistory NEOCLASSICISM: Benjamin West’s Death of General Wolfe Online Links: Neoclassicism - Wikipedia, the free encyclopedia Benjamin West - Wikipedia, the free encyclopedia The Death of General Wolfe - Wikipedia, the free encyclopedia Death of General Wolfe – Smarthistory Death of General Wolfe - Gallery Highlights Video Wolfe Must Not Die Like a Common Soldier - New York Times NEOCLASSICISM: Jacques Louis David’s Death of Marat Online Links: Jacques-Louis David - Wikipedia, the free encyclopedia The Death of Marat - Wikipedia, the free encyclopedia Charlotte Corday - Wikipedia, the free encyclopedia Art Turning Left - The Guardian Annibale Carracci. Flight into Egypt, 1603-4, oil on canvas The Carracci family of Bologna consisted of two brothers, Agostino (1557-1602) and Annibale (1560-1609), and their cousin Ludovico (1556-1619). In Bologna in the 1580s the Carracci had organized gatherings of artists called the Accademia degli Incamminati (academy of the initiated). It was one of the several such informal groups that enabled artists to discuss problems and practice drawing in an atmosphere calmer and more studious than that of a painter’s workshop. The term ‘academy’ was more generally applied at the time to literary associations, membership of which conferred intellectual rank.
    [Show full text]
  • Nicolas Poussin Drew His Artistic Inspiration From
    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.
    [Show full text]
  • The History of Modern Painting Volume 2
    The History of Modern Painting Volume 2 by Richard Muther The History Of Modern Painting BOOK III THE TRIUMPH OF THE MODERNS CHAPTER XVI THE DRAUGHTSMEN INASMUCH as modern art, in the beginning of its career, held commerce almost exclusively with the spirits of dead men of bygone ages, it had set itself in opposition to all the great epochs that had gone before. All works known to the history of art, from the cathedral pictures of Stephan Lochner down to the works of the followers of Watteau, stand in the closest relationship with the people and times amid which they have originated. Whoever studies the works of Dürer knows his home and his family, the Nuremberg of the sixteenth century, with its narrow lanes and gabled houses; the whole age is reflected in the engravings of this one artist with a truth and distinctness which put to shame those of the most laborious historian. Dürer and his contemporaries in Italy stood in so intimate a relation to reality that in their religious pictures they even set themselves above historical probability, and treated the miraculous stories of sacred tradition as if they had been commonplace incidents of the fifteenth century. Or, to take another instance, with what a striking realism, in the works of Ostade, Brouwer, and Steen, has the entire epoch from which these great artists drew strength and nourishment remained vivid in spirit, sentiment, manners, and costume. Every man whose name has come down to posterity stood firm and unshaken on the ground of his own time, resting like a tree with all its roots buried in its own peculiar soil; a tree whose branches rustled in the breeze of its native land, while the sun which fell on its blossoms and ripened its fruits was that of Italy or Germany, of Spain or the Netherlands, of that time; never the weak reflection of a planet that formerly had shone in other zones.
    [Show full text]
  • Time and Religion in Hellenistic Athens: an Interpretation of the Little Metropolis Frieze
    Time and Religion in Hellenistic Athens: An Interpretation of the Little Metropolis Frieze. Monica Haysom School of History, Classics and Archaeology Submitted for the Degree of Doctor of Philosophy, Newcastle University, November 2015. ABSTRACT Two stones that form a part of the spolia on the Little Metropolis church (Aghios Eleutherios) in central Athens consist of a frieze depicting a calendar year. The thesis begins with a Preface that discusses the theoretical approaches used. An Introduction follows which, for reference, presents the 41 images on the frieze using the 1932 interpretation of Ludwig Deubner. After evaluating previous studies in Chapter 1, the thesis then presents an exploration of the cultural aspects of time in ancient Greece (Chapter 2). A new analysis of the frieze, based on ancient astronomy, dates the frieze to the late Hellenistic period (Chapter 3); a broad study of Hellenistic calendars identifies it as Macedonian (Chapter 4), and suggests its original location and sponsor (Chapter 5). The thesis presents an interpretation of the frieze that brings the conclusions of these chapters together, developing an argument that includes the art, religion and philosophy of Athenian society contemporary with the construction of the frieze. Given the date, the Macedonian connection and the link with an educational establishment, the final Chapter 6 presents an interpretation based not on the addition of individual images but on the frieze subject matter as a whole. This chapter shows that understanding the frieze is dependent on a number of aspects of the world of artistic connoisseurship in an elite, educated audience of the late Hellenistic period.
    [Show full text]
  • In Nature's Mirror
    F. The Elegy in Opera and Symphony In Nature’s Mirror Gluck: Orfeo ed Euridice (1762), Opening and Elysian Fields scene Filmed at the Baroque Theater of Cesky Krumlov Castle. Bejun Mehta (Orfeo). Collegium 1704, Vaclav Lucks, conductor. — https://youtu.be/5mTydAUQyYg?t=242 — https://youtu.be/5mTydAUQyYg?t=2150 The story of Orpheus was the subject of so many early operas because he was the first musician, and as another version of the basic pastoral myth of death and rebirth. Christoph Willibald Gluck (1714–87) wrote a version that differed from its predecessors in several important respects. It opens with a scene of mourning; Eurydice is already dead. And also unlike other versions, when Orpheus goes down to Hades to look for her, they send him up to the Elysian Fields, where she is living in altogether better surroundings: a pastoral version of bliss. This production I shall show is filmed in a baroque theater, and although many scenes are set backstage or under it, these two offer something close to an original baroque production. Mahler: Das Lied von der Erde (1909), mvt. 6, opening and closing. Carolyn Watkinson, BBC Philharmonic, Kurt Sanderling (conductor) — https://youtu.be/idRevTkIPts?t=2071 (Christa Ludwig with — Bernstein; no titles; more about him than her!) Gustav Mahler (1860–1911) completed this great song-symphony in 1909, between his eighth and ninth symphonies. It sets six texts from The Chinese Flute, ostensibly translated from the ancient Chinese by Hans Bethge. Much of the music is deliberately Asian in sound, but the emotion of its final movement especially—the long dying farewell to earth and its beauties—is a distilled product of late European Romanticism, heart-breaking in its loveliness.
    [Show full text]
  • Washington, DC 22–24 March 2012 Leonardo Da Vinci, Ginevra De’ Benci, Ca
    The Renaissance Society of America Annual Meeting Program and Abstract Book Washington, DC 22–24 March 2012 Leonardo da Vinci, Ginevra de’ Benci, ca. 1474/78. Alisa Mellon Bruce Fund. Image courtesy of the National Gallery of Art, Washington. Contents The indexes in this book refer to five-digit panel numbers, not page numbers. Panels on Thursday have panel numbers that begin with the number 1; panels on Friday begin with the number 2; and pan- els on Saturday begin with the number 3. The black tabs on each page of the full program are an additional navigational aid: they pro- vide the date and time of the panels. RSA Executive Board.......................................................................5 Acknowledgments.............................................................................6 Book Exhibition and Registration ...................................................10 Business Meetings...........................................................................11 Plenaries, Awards, and Special Events.............................................12 Program Summary Thursday.................................................................................16 Friday.....................................................................................25 Saturday..................................................................................32 Full program with abstracts Thursday 8:30–10:00.......................................................................41 10:15–11:45.....................................................................74
    [Show full text]
  • Historic Wales and United Kingdom Sites for BYU Wales Study Abroad
    Historic Wales and United Kingdom Sites for BYU Wales Study Abroad Volume 2 H–R Compiled by Ronald Schoedel Contents Articles Hadrian's Wall 1 Hampton Court Palace 10 Harlech Castle 20 Hay-on-Wye 27 Hill fort 31 Isca Augusta 39 Kenilworth Castle 43 Kidwelly Castle 61 King Doniert's Stone 62 King's College Chapel, Cambridge 63 Lacock 66 Lacock Abbey 68 Lanhydrock 71 Lanyon Quoit 74 Llandaff Cathedral 75 Malvern Hills 80 Margam Stones Museum 98 Monmouth 110 Monmouth Castle 126 Museum of London 130 Mên-an-Tol 135 National Assembly for Wales 137 National Eisteddfod of Wales 146 National Gallery 151 National Museum Cardiff 168 National Museum of Scotland 171 National Portrait Gallery, London 176 National Railway Museum 181 National Roman Legion Museum 194 National Slate Museum 195 Newcastle Castle, Bridgend 196 North Hill, Malvern 197 Offa's Dyke 199 Ogmore Castle 203 Old Beaupre Castle 205 Old Sarum 207 Oxford University Museum of Natural History 211 Oxfordshire 217 Palace of Whitehall 224 Pierhead Building 228 Plas Mawr 231 Preston England Temple 232 Raglan Castle 235 Roman Baths (Bath) 247 Roman Baths Museum 253 Royal Monmouthshire Royal Engineers 254 Royal Shakespeare Company 256 References Article Sources and Contributors 264 Image Sources, Licenses and Contributors 268 Article Licenses License 278 Hadrian's Wall 1 Hadrian's Wall Hadrian's Wall (Latin: Vallum Aelium, "Aelian Wall" – the Latin name is inferred from text on the Staffordshire Moorlands Patera) was a defensive fortification in Roman Britain. Begun in 122 AD, during the rule of emperor Hadrian, it was the first of two fortifications built across Great Britain, the second being the Antonine Wall, lesser known of the two because its physical remains are less evident today.
    [Show full text]
  • The Seventeenth Century 1. Italy
    The Seventeenth Century 1. Italy Contents Counter-Reformation – Idealism and Naturalism .......................................................................... 3 Annibale Carracci (1560-1609) ................................................................................................................. 3 Michelangelo Merisi da Caravaggio (1571-1610) .................................................................................. 8 Artemisia Gentileschi (1593 – c 1656)................................................................................................... 16 Catholic Reformation – the Baroque ............................................................................................. 19 Gianlorenzo Bernini (1598-1680) ........................................................................................................... 19 Borromini (1599-1667) ............................................................................................................................. 34 Pietro da Cortona (1596-1669) ............................................................................................................... 40 Ideal Landscapes ............................................................................................................................. 42 Nicolas Poussin (1594-1665) .................................................................................................................. 44 Claude Lorrain (c 1604 – 1682) .............................................................................................................
    [Show full text]
  • Dictionnaire Culturel En Langue Française
    DICTIONNAIRE CULTUREL EN LANGUE FRANCqAISE sous la direction de ALAIN REY direction éditoriale DANIÈLE MORVAN DICTIONNAIRE CULTUREL EN LANGUE FRANC¸ AISE présentant plus de 70 000 mots du français classique, moderne et très contemporain, avec leur origine, leurs sens et leurs emplois clairement définis, illustrés de nombreuses citations littéraires, en exemple de bon usage, de beau style, de pensée et de poésie ainsi que plus de 1 300 articles développant l’histoire et l’état présent des idées, des savoirs, des symboles en maints domaines : arts, littératures, religions, économie, politique, sciences, techniques, histoire et anthropologie, vie quotidienne, passions et pulsions, articles écrits par près de 100 auteurs, spécialistes renommés ou jeunes chercheurs qui le deviendront, articles coordonnés entre eux et avec le vocabulaire français, dans l’ouverture aux cultures européennes et mondiales, pour ce faire, illustrés de nombreuses citations en traduction, en autant de fenêtres ouvertes sur les littératures et les penseurs du monde et d’abord de l’Europe, en tous temps DICTIONNAIRES LE ROBERT - PARIS Tous droits de reproduction, de traduction et d’adaptation réservés pour tous pays. © 2005 DICTIONNAIRES LE ROBERT - SEJER 25, avenue Pierre-de-Coubertin 75013 Paris ISBN 978 2 85036 302 - 3 (édition complète) 978 2 84902 176 - 7 (tome I) Couverture : Lagalerie Iconographie couverture © Le Robert - Sejer Direction de l’ouvrage Alain Rey Direction éditoriale Danièle Morvan TEXTE DU DICTIONNAIRE Rédaction Marie-José Brochard Sophie Chantreau-Razumiev Tristan Hordé Nathalie Livingstone Chantal Tanet Révision Françoise Gérardin Danièle Morvan Alain Rey ARTICLES CULTURELS voir ci-après la liste des auteurs Révision Gilles Firmin Danièle Morvan Alain Rey Révision et édition Nathalie Livingstone AUTEURS DES ARTICLES CULTURELS signalés par les initiales de leurs noms Philippe Abastado (Ph.
    [Show full text]
  • THEME: HUMANISM and the CLASSICAL TRADITION
    THEME: HUMANISM and the CLASSICAL TRADITION FOCUS: Michelangelo’s Moses, Michelangelo’s Sistine Ceiling, Michelangelo’s Last Judgment, Michelangelo’s Medici Chapel ONLINE ASSIGNMENT: http://smarthistory.khanacademy.org/michelangelo- moses.html ONLINE ASSIGNMENT: http://smarthistory.khanacademy.org/sistine-chapel- ceiling.html DATE DUE: ___________ ONLINE ASSIGNMENT: http://smarthistory.khanacademy.org/last-judgment-sistine-chapel.html READING ASSIGNMENT: KLEINER, pp. 611-617 POWERPOINT: HUMANISM and the CLASSICAL TRADITION: ITALIAN HIGH RENAISSANCE (Michelangelo) 1. Word of Michelangelo’s David reached Pope ______________________ in Rome, and he asked Michelangelo to come to Rome to work for him. The first work the pope commissioned from Michelangelo was to sculpt his _______________________. 2. In the story from the Old Testament book of Exodus, Moses leaves the Israelites (who he has just delivered from slavery in Egypt) to go to the top of Mt. Sinai. When he returns he finds that they have constructed a ____________________________ to worship and make sacrifices to- they have, in other words, been acting like the Egyptians and worshipping a pagan idol. 3. In what ways visually does the statue of Moses by Michelangelo convey the patriarch’s state of mind upon encountering the unfaithful Israelites? 4. On the ceiling of the Sistine Chapel, a long sequence of narrative panels described the creation, as recorded in Genesis, runs along the crown of the vault, from God’s Separation of Light and Darkness (above the altar) to _______________________________ (nearest the entrance to the chapel). Thus, as viewers enter the chapel, look up, and walk toward the altar, they review, in reverse order, the history of the fall of mankind.
    [Show full text]
  • The Perspective Landscape Scene in the English Theatre, 1660-1682
    This dissertation has been 63—4670 microfilmed exactly as received JACKSON, Allan Stuart, 1934- THE PERSPECTIVE LANDSCAPE SCENE IN THE ENGLISH THEATRE, 1660-1682. The Ohio State University, Ph.D., 1962 Speech—Theater University Microfilms, Inc., Ann Arbor, Michigan DIAGRAMS DIAGRAM Page 1 Seventeenth-Century Theatre Ground Plans . 178 2 The Plan of the Hall Theatre Reconstructed by Boswell from Webb's Ground Plan for Mustapha (l 665) ........................ 179 3 Restoration Scene Change Sequence from Southern ...... ........................... 180 4 Restoration Scene Change Sequence from Langhans.......................... 183 ix 89 artists have been called the "Roman School" of painters. Their works directly influenced a northern group known as the Italianate Dutch. These were Cornells Van Poelenbergh, Bartholomaeus Breenbergh, and Jan Both. Engravings of works by all these men were collected in England. Another influence came from the Dutch painters Frans de Momper, Philip de Koninck, Jacob van Ruisdale, and Cornells Vroom, and from the Flemish painters Gillis Van Coninxloo, the Brueghel family, and Joos De Momper. These two styles repre­ sented by these painters will be referred to as "the northern groups." Inigo Jones seems to have been influenced about equally by the older "Italianate" painters and the Flemish. The last major influence was from native English pro- . vincial painting. This style differed from artist to artist, a result of the fact that the men were often self taught, or taught by craftsmen who had had little foreign training. The English works typically had a feeling of freshness of approach to subject matter; that is, they lacked the sophisticated and mannered tricks of the foreign schools.
    [Show full text]
  • Nicolas Poussin: Peintre Philosophe
    Art Appreciation Lecture Series 2018 The hidden language of art: symbol and allusion Nicolas Poussin: Peintre-philosophe Dr Christopher Allen 16 and 17 May 2018 Lecture summary: Nicolas Poussin (1594-1665) was born in Normandy and did not arrive in Rome, the centre of contemporary art, until 1624 and at the comparatively late age of 30. After a couple of difficult years, however, Poussin began to be recognised as an artist of exceptional depth and originality. By the 1630s his work was in increasing demand; having caught the attention of the formidable Cardinal Richelieu, he was forced to return to France in 1640 to take up the position of First Painter of King Louis XIII. With the death of the king in 1642, he was able to escape back to Rome, where his prestige was greater than ever. He was now not only one of the three leading painters of his time – with Pietro da Cortona and Claude Lorrain – but respected as a kind of sage, a peintre- philosophe as well as peintre-poète. Poussin was undoubtedly the most original painter of mythological subjects in the history of art, for he used the stories of classical myth as a vehicle for philosophical meditation on the order of nature. His underlying inspiration was the tradition of Stoicism, the ancient philosophy of inner steadfastness and calm, which appealed to other artists and thinkers of his time as well, including Salvator Rosa and Peter Paul Rubens. But whereas Rubens’ Stoicism was ethical, and coexisted with his Catholic faith, Poussin was also interested in the cosmological theories which the Stoics had largely borrowed from the earlier Presocratic philosopher Heraclitus.
    [Show full text]