Nicolas Poussin [1]

Nationality : France, 1594-1665

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  • Title : St. Cecilia
  • Info : St. Cecilia Oil On Canvas

Oil Painting ID: 28700


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  • Title : Midas and Bacchus
  • Info : Midas and Bacchus, 1625, oil on canvas, Pinakothek at Munich

Oil Painting ID: 28701


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  • Title : Apollo and Daphne
  • Info : Apollo and Daphne, 1625, oil on canvas, Pinakothek at Munich

Oil Painting ID: 28702


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  • Title : The Death of Germanicus
  • Info : The Death of Germanicus, 1627, Minneapolis Institute of Arts

Oil Painting ID: 28703


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  • Title : Mars and Venus
  • Info : Mars and Venus, 1627-29, oil on canvas, Museum of Fine Arts, Boston

Oil Painting ID: 28704


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  • Title : Echo and Narcissus
  • Info : Echo and Narcissus, oil on canvas, Musée du Louvre, Paris

Oil Painting ID: 28705


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  • Title : The Conquest of Jerusalem
  • Info : The Conquest of Jerusalem, oil on canvas, Art History Museum, Vienna

Oil Painting ID: 28706


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  • Title : Tancred and Erminia
  • Info : Tancred and Erminia, 1630s, oil on canvas, Hermitage, St. Petersburg

Oil Painting ID: 28707


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  • Title : The Adoration of the Golden Calf, approx
  • Info : The Adoration of the Golden Calf, approx. 1634, National Gallery at London

Oil Painting ID: 28708


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  • Title : The Companions of Rinaldo
  • Info : The Companions of Rinaldo, oil on canvas, Metropolitan Museum of Art, New York

Oil Painting ID: 28709


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Poussin, Nicolas
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 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.

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