Nicolas Poussin - Knowledge

2224: 1169: 762: 2299: 1994: 1480: 1068: 1442: 1923: 1422: 777: 2281: 2148: 2044: 2318: 2063: 1462: 1331: 2082: 1973: 2019: 1948: 1038: 2190: 2107: 871: 2336: 1602: 1148: 503: 2242: 2263: 1550: 747: 891: 523: 2169: 2205: 1528: 1196: 1352: 460: 1410:, 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. 384:, but Lallemand's inattention to precise drawing and the articulation of his figures apparently displeased Poussin. 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. 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 478: 856: 2128: 1575: 1498:

landscapes were very carefully composed, with the vertical trees and classical columns carefully balanced by the horizontal bodies of water and flat building stones, all organized to lead the eye to the often tiny figures. The foliage in his trees and bushes is very carefully painted, often showing every leaf. His skies played a particularly important part, from the blue skies and gray clouds with bright sunlit borders (a sight often called in France "a Poussin sky") to illustrate scenes of tranquility and the serenity of faith, such as the

1313: 1826:, who studied in Rome and became Director of the French Academy there. Ingres wrote, "Only great painters of history can paint a beautiful landscape. He (Poussin) was the first, and only, to capture the nature of Italy. By the character and taste of his compositions, he proved that such nature belonged to him; so much so that when facing a beautiful site, one says, and says correctly, that it is "Poussinesque". Another 19th-century admirer of Poussin was Ingres' great rival, 1053: 40: 3577: 3830: 1136:, 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. 610:, 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. His two brothers-in-law were artists, and 358:, 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. His parents apparently opposed a painting career for him, and In or around 1612, at the age of eighteen, he ran away to Paris. 3818: 149: 602:, the Cardinal's secretary and a passionate scholar of ancient Rome and Greece, who both later became his important patrons. The new art collectors demanded a different format of paintings; instead of large altarpieces and decoration for palaces, they wanted smaller-size religious paintings for private devotion or picturesque landscapes, mythological and history paintings. 1830:; he wrote in 1853: "The life of Poussin is reflected in his works; it is in perfect harmony with the beauty and nobility of his inventions...Poussin was one of the greatest innovators found in the history of painting. He arrived in the middle of the school of mannerism, where the craft was preferred to the intellectual role of art. He broke with all of that falseness". 1301:, 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. 819:, with the figure of "Truth" clearly standing for Cardinal Richelieu. He was also expected to provide designs for royal tapestries and the front pieces for books from the royal printing house. He was also subjected to considerable criticism from the partisans of other French painters, including his old friend Simon Vouet. He completed a painting of the 1738:, include landscapes drawn from nature to be used as references for painting, and composition studies in which he blocked in his figures and their settings. To aid him in formulating his compositions he made miniature wax figures and arranged them in a box that was open on one side like a theatre stage, to serve as models for his composition sketches. 257:, but soon returned to Rome and resumed his more traditional themes. In his later years he gave growing prominence to the landscape in his paintings. His work is characterized by clarity, logic, and order, and favors line over color. Until the 20th century he remained a major inspiration for such classically-oriented artists as 1251:, wanting wives for his soldiers, invited the members of the neighboring Sabine tribe for a festival, and then, on his signal, kidnapped all of the women. He painted two versions, one in 1634, now in the Metropolitan Museum, and the other in 1637, now in the Louvre. He also painted two versions illustrating a story of Ovid in the 937:, 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 369:, which had recently ended, and for the numerous convents in Paris and other cities. However, Poussin was not a member of the powerful guild of master painters and sculptors, which had a monopoly on most art commissions and brought lawsuits against outsiders like Poussin who tried to break into the profession. 795:. When Poussin declined, Noyers sent his cousins, Roland Fréart de Chambray and Paul Fréart, to Rome to persuade Poussin to come home, offering him the title of First Painter to the King, plus a substantial residence at the Tuileries Palace. Poussin yielded, and in December 1640 he was back in Paris. 605:

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

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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." Cézanne

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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. His house was at the foot of Trinité des Monts, near the city gate, where other foreigners and artists lived; its exact

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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

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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

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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. He produced few drawings as independent works, aside from the series of drawings illustrating

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seems to have met with official displeasure and generated no further papal commissions. 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

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painting. In his early paintings the landscape usually forms a graceful background for a group of figures, but later the landscape played a larger and larger role and dominated the figures, illustrating stories, usually tragic, taken from the Bible, mythology, ancient history or literature. His

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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

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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

2223: 761: 652:, 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. 1515:

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.

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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. Nonetheless, in his final eight years he painted some of the most ambitious and celebrated of his works, including

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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

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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

1508:(1651). Many of his landscapes have enigmatic elements noticeable only with closer inspection; for example, in the center of the landscape with Pyramus and Thisbe, despite the storm in the sky, the surface of the lake is perfectly calm, reflecting the trees. 1243:, who had also commissioned the Bacchanals. Many of his mythological paintings featured gardens and floral themes; his first Roman patrons, the Barberini family, had one of largest and most famous gardens in Rome. Another of his early major themes was the 403:, where, as his biographer Bellori reported, "as a result of some sort of accident, he returned to France." 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 1081:

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

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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.

2298: 933:, 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 244:

style, although he spent most of his working life in Rome. Most of his works were on religious and mythological subjects painted for a small group of Italian and French collectors. He returned to Paris for a brief period to serve as

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described Poussin as "not a brilliant, elegant, or seductive draughtsman. Far from it. His lack of virtuosity is, however, compensated for by uncompromising rigour: there is never an irrelevant mark or a superfluous line."

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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. In

1168: 1775:. 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. During the 543:, elected in 1623, was determined to maintain the position of Rome as the artistic capital of Europe, and artists from around the world gathered there. Poussin could visit the churches and convents to study the works of 776: 664:

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.

1922: 1128:, 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, 448:. Marino took him into his household, and, when he returned to Rome in 1623, invited Poussin to join him. Poussin remained in Paris to finish his earlier commissions, then arrived to Rome in the spring of 1624. 1371:

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

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for Cardinal Richelieu (now in the Louvre). He was increasingly unhappy with the court intrigues and the overwhelming number of commissions. In the autumn of 1642, when the King and court were out of Paris in

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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

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in part because the leaders of the Revolution looked to replace the frivolity of French court art with Republican severity and civic-mindedness. The influence of Poussin was evident in paintings such as

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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

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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,

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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,

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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

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of Tacitus and the Meleager sarcophagus), stoic restraint and pictorial clarity established Poussin's reputation as a major artist. In 1628, he was living on the via Paolino (Babuino) with

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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

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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

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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

289:. The commissions Poussin received for modestly scaled paintings of religious, mythological, and historical subjects allowed him to develop his individual style in works such as 1461: 1947: 1223:. In his early years he devoted a series of paintings, full of color, movement and sensuality, to the Bacchanals, colorful portrayals of ceremonies devoted to the god of wine 1067: 2317: 2018: 1479: 4157: 1709:), 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. The violence of 2335: 1106:

provided the subject of one of his most dramatic paintings, "The Massacre of the Innocents", where the general slaughter was reduced to a single brutal incident. In his

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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

1147: 380:, who painted almost exclusively portraits, a genre that was of little interest to Poussin. Afterward, he is thought to have studied for one month in the studio of 2262: 645: 281:, who had a powerful influence on his style. He befriended a number of artists who shared his classicizing tendencies, and met important patrons, such as Cardinal 1052: 948:, 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 746: 1527: 1351: 522: 2168: 594:. Rome also offered Poussin a flourishing art market and an introduction to an important number of art patrons. Through Marino, he was introduced to Cardinal 502: 2189: 1549: 974:. 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. 617:

Cardinal Barberini and Cassiano dal Pozzo returned to Rome in 1626, and by their patronage Poussin received two major commissions. In 1627, Poussin painted

4077: 2127: 1026:, or facial expressions of the participants, showed their different reactions. Aside from his self-portraits, Poussin never painted contemporary subjects. 890: 459: 3587: 2204: 1086:, which offered more variety and the stories were often more vague and gave him more freedom to invent. He painted different versions of the stories of 3965: 1929: 1786: 436:, are among the earliest identifiable works of Poussin. Marino's influence led to a commission for some decoration of Marie de Medici's residence, the 2677: 1504:, painted in the late 1630s before his departure for Paris; or extremely dark, turbulent and threatening, as a setting for tragic events, as in his 563:, and frequented the Academy of Saint Luke, which brought together the leading painters in Rome, and whose head in 1624 was another French painter, 4037: 855: 3723: 3370: 1397:, a subject he painted in about 1630 and again in the late 1630s. Idealized shepherds examine a tomb inscribed with the title phrase, "Even in 811:

for the altar of the church of the novitiate of the Jesuits. In addition, he was asked to the ceilings and vaults for the Grand gallery of the

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studies. He also became the model for the myth of the child genius, who becomes the miserable artist rejected by society, as can be seen in

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Poussin became acquainted with other artists in Rome and tended to befriend those with classicizing artistic leanings: the French sculptor

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and that he received an education that included some Latin, which would stand him in good stead. Another early friend and biographer,

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combined several different incidents, occurring at different times, into the same painting, in order to tell the story, and the

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During the late 1620s and 1630s, he experimented and formulated his own style. He studied the Antique as well as works such as

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His early sketches gained him a place in the studios of established painters. He worked for three months in the studio of the

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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,

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is Poussin's most overtly "baroque" work. Despite its adherence to the pictorial idiom of the day, for unknown reasons, the

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in Paris. Other significant collections are in the National Gallery in London; the National Gallery of Scotland; the

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The success of the Germanicus led to an even more prestigious commission in 1628 for an altarpiece depicting the

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Carrier, David. "Poussin's Cartesian Meditations: Self and Other in the Self-Portraits of Poussin and Matisse".

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In the years following Poussin's death, his style had a strong influence on French art, thanks in particular to

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New York City 2008. "Poussin and Nature: Arcadian Visions". Metropolitan Museum of Art; Poussin's landscapes.

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Poussins Parerga. Quellen, Entwicklung und Bedeutung der Kleinkompositionen in den Gemälden Nicolas Poussins

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before returning. In the summer of the same year, he received his first important commission: the Order of

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He lived an austere and comfortable life, working slowly and apparently without assistants. The painter

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were also founded upon Poussin's example. In 1963 Picasso based a series of paintings on Poussin's

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and several other important works; Cardinal Rospigliosi, for whom he painted the second version of

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Barker, Naomi Joy (2000). "'Diverse Passions': Mode, Interval and Affect in Poussin's Painings".

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requested a series of six large paintings to honor the canonization of their founder, Saint

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Paris 1960. "Poussin peintre: retrospectif". Galvanized the renewed interest in Poussin.

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Fort Worth 1988. "Poussin: The Early Years in Rome: The Origins of French Classicism".

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Poussin's early private patrons included the Chanoine Gian Maria Roscioli, who bought

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and four illustrating battle scenes from Roman history. The "Marino drawings", now at

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as the standard of excellence. Rejecting the emotionalism of Baroque artists such as

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Allegories of death are common in Poussin's work. One of the best-known examples is

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Along with Cardinal Barberini and Cassiano dal Pozzo, for whom he painted the first

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terms a "consonance ... between the pagan and the Christian world". An example is

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location is not known but it was opposite the church of Sant'Atanasio dei Greci.

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Poussin and the Poetics of Painting: Pictorial Narrative and the Legacy of Tasso

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of Marie de Medicis. There he saw for the first time engravings of the works of

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The Meleager sarcophagus seen by Poussin is that now in the Capitoline Museums.

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On Classic Ground: Picasso, Léger, de Chirico and the New Classicism 1910–1930

1873: 4385: 3697: 3583: 3554: 3536: 3529: 3269: 2394: 1857: 1838: 1797: 1759:. Poussin's work had an important influence on the 17th-century paintings of 1641:, he emphasized the cerebral. His goal was clarity of expression achieved by 1494: 1279: 1232: 1103: 1083: 583: 399:

He first tried to travel to Rome in 1617 or 1618, but made it only as far as

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Throughout his career, Poussin frequently achieved what the art historian

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Rosenberg, Pierre. "Poussin Drawings from British Collections. Oxford".

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La Maison de Nicolas Poussin via del Babuino a Rome in Actes di Colloque

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were other modern artists who acknowledged the influence of Poussin.

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after a hunting accident, transforms his blood into the color of the

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With its plunging diagonal composition and high narrative drama, the

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Sacrament of Ordination (Christ Presenting the Keys to Saint Peter)

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and other Renaissance painters, as well as the more recent works of

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whom he lodged with in 1626 in via dei Maroniti; the French artist

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Poussin; The Early Years in Rome: The Origins of French Classicism

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In the 20th century, some art critics suggested that the analytic

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The most famous of his religious works were the two series called

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Poussin was thirty when he arrived in Rome in 1624. The new Pope,

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made a series of paintings in 1989–90 based on Poussin's works.

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he made early in his career. His drawings, typically in pen and

3844: 3817: 2539: 2485: 1892: 1853: 1823: 1720:; Louvre) has the same abstract, choreographed quality seen in 1653: 1593: 1343: 1256: 1187: 1132:, and was finished in 1642. It was viewed by his later patron, 812: 783: 702: 514: 3087:. 5th edn. Revised and expanded by Anthony F. Janson. London: 2619: 944:

Another important French patron of Poussin in this period was

4158:

Camillus Handing the Falerian Schoolmaster over to his Pupils

3806:

London 2021. "Poussin and the Dance". National Gallery of Art

2742: 2497: 2470: 1891:

The finest collection of Poussin's paintings today is at the

211: 182: 3894:

The John G. Johnson Collection: A History and Selected Works

3777:. Cambridge and New York: Cambridge University Press, 2006. 1274:(1660–64), in which Christian and pagan themes are mingled: 396:, whose work had an enormous influence on his future style. 1849:

artist who admired the formal qualities of Poussin's work.

404: 2715: 3666:

Nicolas Poussin, Il Rinascimento arcadico del XVII secolo

3518:

Music in Art: International Journal for Music Iconography

3416:(14 January 2016). "Happy Anniversary, Nicolas Poussin". 817:

Time Defending Truth from the Attacks of Envy and Discord

768:

Time defending Truth from the attacks of Envy and Discord

3897:, a Philadelphia Museum of Art free digital publication. 3704:(Grasset). Ann Arbor: The University of Michigan Press. 926:

in Paris, and settled for the rest of his life in Rome.

827:

tapestry manufactory, drawings for a proposed series of

440:, then a commission from the first Archbishop of Paris, 3888:"The Baptism of Christ, by Nicolas Poussin (cat. 773)," 3101: 3001: 2595: 1282:, instead features Adam and Eve in the garden of Eden; 786:

for the royal printing house, 1641, Metropolitan Museum

3541:

The Paintings of Nicolas Poussin: A Critical Catalogue

3371:"Art View; Back and Forth Between Poussin and Cezanne" 3025: 2305:

The Holy Family with St Elizabeth and John the Baptist

1617:, Pen and ink with wash, over black chalk and stylus, 451: 333: 3800:

Paris 1994. "Nicolas Poussin 1594–1665" Grand Palais.

2841: 2805: 2551: 1493:

Poussin is an important figure in the development of

1139: 217: 185: 3668:, Paolo Loffredo iniziativeditoriali, Naples, 2016, 3605:

Nicolas Poussin: Friendship and the Love of Painting

3439:(3). New York: Metropolitan Museum of Art: 1, 3–56. 3062: 3037: 2976: 2974: 2527: 208: 179: 3246: 3140: 2938: 2936: 2870: 2868: 2682: 2154:

Helios and Phaeton with Saturn and the Four Seasons

770:, for the study of Cardinal Richelieu, 1642, Louvre 214: 176: 3966:The Battle between the Israelites and the Amorites 3390: 3172: 3134: 3119: 2995: 2980: 2965: 2953: 2912: 2900: 2874: 2859: 2835: 2823: 2799: 2787: 2775: 2763: 2751: 2738:. Vol. 1. New York: Pantheon. pp. 85–99. 2709: 2630: 2613: 2569: 2545: 2506: 2491: 2479: 1930:The Battle between the Israelites and the Amorites 1629:is coupled with conscious reference to the art of 847: 338:Nicolas Poussin's early biographer was his friend 4332:(first series 1637–1640; second series 1644–1648) 4078:Saint James the Great's Vision of the Virgin Mary 2971: 1401:I exist", reminding that death was ever-present. 1278:, traditionally personified by the Roman goddess 4383: 2933: 2865: 3661:, 23 February 1996. Retrieved 16 February 2013. 3607:. Princeton: Princeton University Press, 1995. 18:17th-century French Baroque painter (1594–1665) 3851:A 16min educational film about Nicolas Poussin 3339:. Hong Kong, Cologne, London et al.: Taschen. 21:"Poussin" redirects here. For other uses, see 3916: 2586: 2584: 2582: 2580: 2578: 2443:(18th ed.). Cambridge University Press. 738: 3596:(11th ed.). Cambridge University Press. 3013: 2005: 1413: 823:(now in the Louvre), eight cartoons for the 606:dal Pozzo with him. Poussin became ill with 3431:Thompson, James (1992). "Nicolas Poussin". 3412: 3190:Cowling, Elizabeth; Jennifer Mundy (1990). 2942: 2517: 2515: 3923: 3909: 2575: 361:He arrived in Paris during the regency of 38: 2924: 1645:or 'nobility of design' in preference to 954:, painted between 1644 and 1648, and his 648:had originally awarded the commission to 342:, who relates that Poussin was born near 301:, and the first of his two series of the 4286:Blind Orion Searching for the Rising Sun 4174:Theseus Rediscovering His Father's Sword 3430: 3296:The Oxford Dictionary of Art and Artists 3293: 3059:, vol. 133, no. 1056, 1991, pp. 210–213. 2601: 2533: 2512: 2440:Cambridge English Pronouncing Dictionary 878:Blind Orion Searching for the Rising Sun 273:he studied the works of Renaissance and 3841:61 artworks by or after Nicolas Poussin 3492:Poussin Paintings: A Catalogue Raisonné 3365: 3146: 4384: 4038:The Mystic Marriage of Saint Catherine 3974:Joshua's Battle against the Amalekites 3489: 3467: 3334: 3318:Introduction to Nineteenth-Century Art 3281:Brigstocke, Hugh. "Poussin, Nicolas". 3280: 3252: 3178: 3074: 3068: 3043: 3007: 2847: 2811: 2662: 2590: 2557: 2521: 1304: 835:for the Louvre, and a painting of the 598:, the brother of the new Pope, and to 3904: 3638:. Schnell & Steiner, Regensburg. 3312: 3268: 3215:. London: Paul Holberton. pp. 20–21. 3107: 3031: 2733: 2721: 2688: 2678:The British Museum: Collection online 2658: 2656: 2654: 2652: 2650: 2648: 2421: 2393: 2365:Category:Paintings by Nicolas Poussin 1255:in which Venus mourning the death of 232: 3881:. New York: Robert Appleton Company. 3732:, 2009-03-01. Retrieved 28 May 2009. 3235:. New York: Harry N. Abrams. p. 82. 3162:. Paris: Hachette Réalités. p. 273. 2360:List of paintings by Nicolas Poussin 1779:, Poussin's style was championed by 4270:Landscape with Orpheus and Eurydice 4222:Landscape with the Ashes of Phocion 4206:Landscape with Saint John on Patmos 3930: 3470:"The 'High Art' of Nicolas Poussin" 3433:Metropolitan Museum of Art Bulletin 3356:Grove Art Online. Oxford Art Online 3298:. Oxford: Oxford University Press. 3283:Grove Art Online. Oxford Art Online 3194:. London: Tate Gallery. pp. 93–93. 1841:as "the Poussin of Impressionism". 1519: 1501:Landscape with Saint John on Patmos 1449:Landscape with the Ashes of Phocion 1429:Landscape with Saint John on Patmos 1247:, recounting how the King of Rome, 1046:, 1625–1629, Musée Condé, Chantilly 992:Orion Blinded Searching for the Sun 862:Landscape with Orpheus and Eurydice 809:The Miracle of Saint Francis-Xavier 753:The Miracle of Saint Francis Xavier 452:First residence in Rome (1624–1640) 334:Early years – Les Andelys and Paris 313:Orion Blinded Searching for the Sun 13: 4102:A Bacchanalian Revel Before a Term 3509: 3354:Pace, Claire. "Disegno e colore". 2890:, vol. 15, no. 3, 1996, pp. 28–35. 2645: 2642:In a census of 1624 (Friedlaender) 1140:Mythology and classical literature 567:, who offered lodging to Poussin. 14: 4448: 4302:Landscape with Hercules and Cacus 4150:Triumph of Neptune and Amphitrite 3990:The Capture of Jerusalem by Titus 3869:Herbermann, Charles, ed. (1913). 3810: 2088:The Abduction of the Sabine Women 1506:Landscape with Pyramus and Thisbe 1468:Landscape with Pyramus and Thisbe 1059:The Seven Sacraments – Ordination 996:Landscape with Hercules and Cacus 318:Landscape with Hercules and Cacus 4110:The Adoration of the Golden Calf 3828: 3816: 3759:, translated from the French by 3575: 3396:Poussin – "Je n'ai rien négligé" 3353: 3019: 2663:Sparti, Donatella Livia (1996). 2399:Longman Pronunciation Dictionary 2334: 2316: 2297: 2279: 2261: 2240: 2222: 2203: 2188: 2167: 2146: 2126: 2114:The Adoration of the Golden Calf 2105: 2080: 2061: 2042: 2017: 1992: 1971: 1946: 1921: 1600: 1573: 1548: 1526: 1478: 1460: 1440: 1420: 1350: 1329: 1311: 1227:, and celebrating the goddesses 1215:, was based upon a story in the 1194: 1167: 1146: 1066: 1051: 1036: 889: 869: 854: 805:Château de Saint-Germain-en-Laye 801:The Institution of the Eucharist 775: 760: 745: 521: 501: 476: 458: 204: 172: 147: 3653:"When Poussin Drew for Himself" 3622:Nicolas Poussin: A New Approach 3398:(in French). Paris: Gallimard. 3225: 3205: 3184: 3152: 3049: 2929:. New York: Hudson Hills Press. 2918: 2893: 2880: 2727: 2694: 2671: 2636: 2287:Discovery of Achilles on Skyros 848:Final years in Rome (1642–1665) 4030:The Martyrdom of Saint Erasmus 3788: 3757:Poussin before Rome: 1594–1624 3468:Wilkin, Karen (January 1995). 3135:Rosenberg & Temperini 1994 3120:Rosenberg & Temperini 1994 2996:Rosenberg & Temperini 1994 2981:Rosenberg & Temperini 1994 2966:Rosenberg & Temperini 1994 2954:Rosenberg & Temperini 1994 2913:Rosenberg & Temperini 1994 2901:Rosenberg & Temperini 1994 2875:Rosenberg & Temperini 1994 2860:Rosenberg & Temperini 1994 2836:Rosenberg & Temperini 1994 2824:Rosenberg & Temperini 1994 2800:Rosenberg & Temperini 1994 2788:Rosenberg & Temperini 1994 2776:Rosenberg & Temperini 1994 2764:Rosenberg & Temperini 1994 2752:Rosenberg & Temperini 1994 2710:Rosenberg & Temperini 1994 2631:Rosenberg & Temperini 1994 2614:Rosenberg & Temperini 1994 2570:Rosenberg & Temperini 1994 2546:Rosenberg & Temperini 1994 2507:Rosenberg & Temperini 1994 2492:Rosenberg & Temperini 1994 2480:Rosenberg & Temperini 1994 2457: 2415: 2387: 2099:The Metropolitan Museum of Art 1342:, second version, late 1630s, 883:The Metropolitan Museum of Art 782:Frontispiece for the works of 614:later took Poussin's surname. 529:The Martyrdom of Saint Erasmus 1: 4086:The Massacre of the Innocents 3865:– 92 works by Nicolas Poussin 2375: 2157: 2091: 2028: 1714: 1699: 1663:The Bacchanal of the Andrians 1611: 1586: 1559: 1180: 695: 623:Minneapolis Institute of Arts 487: 298:The Massacre of the Innocents 263:Jean-Auguste-Dominique Ingres 4427:Paintings by Nicolas Poussin 4262:Landscape with Three Figures 4142:A Dance to the Music of Time 4134:The Rape of the Sabine Women 3603:and Charles Dempsey (1995). 3490:Wright, Christopher (1985). 3419:The New York Review of Books 3394:; Temperini, Renaud (1994). 2467:was published in Rome, 1672. 2380: 2140:National Gallery of Victoria 1907:, Saint Petersburg; and the 1866:The Rape of the Sabine Women 1723:A Dance to the Music of Time 1711:The Rape of the Sabine Women 1407:A Dance to the Music of Time 1359:A Dance to the Music of Time 1176:The Rape of the Sabine Women 470:Minneapolis Institute of Art 328: 7: 4126:The Crossing of the Red Sea 4062:The Inspiration of the Poet 2888:Notes in the History of Art 2353: 2291:Museum of Fine Arts, Boston 2273:National Gallery of Ireland 2135:The Crossing of the Red Sea 2036:Museum of Fine Arts, Boston 2008:Gemäldegalerie Alte Meister 1985:National Gallery of Ireland 1100:Moses saved from the waters 1098:and made three versions of 1029: 1016: 510:The Inspiration of the Poet 10: 4453: 4118:Adoration of the Shepherds 3773:Unglaub, Jonathan (2006). 3624:. New York: Abrams. 1964. 3358:. Oxford University Press. 3285:. Oxford University Press. 3262: 2925:Oberhuber, Konrad (1988). 1914: 1803:The Death of General Wolfe 1340:(The Shepherds of Arcadia) 1299:Apollo in love with Daphne 1004:Apollo in love with Daphné 739:Return to France (1641–42) 20: 4371:Poussinists and Rubenists 4363: 4347: 4320: 4294:Landscape with Two Nymphs 4246:Landscape with Polyphemus 4070:Sleeping Venus with Cupid 3947: 3938: 3337:Nicolas Poussin 1594–1665 3211:Ottinger, Didier (2005). 2401:(3rd ed.). Longman. 2370:Poussinists and Rubenists 2249:Landscape with Polyphemus 2182:Detroit Institute of Arts 2069:The Adoration of the Magi 2006: 2001:Sleeping Venus with Cupid 1837:was described in 1907 by 1746: 1582:The Four Seasons (Spring) 1414:Landscapes and townscapes 1044:Massacre of the Innocents 958:. In 1649 he painted the 898:The Four Seasons (Summer) 707:Massacre of the Innocents 590:style that formed around 247:First Painter to the King 155: 146: 141: 137: 123: 108: 98: 79: 52: 37: 30: 4437:Premiers peintres du Roi 4238:The Judgement of Solomon 4198:The Continence of Scipio 4006:Venus Weeping for Adonis 3861:9 September 2020 at the 3494:. New York: Hippocrene. 1771:, and the Dutch painter 1434:Art Institute of Chicago 1245:Rape of the Sabine Women 1134:Paul Fréart de Chantelou 1074:The Judgement of Solomon 998:, the four paintings of 946:Paul Fréart de Chantelou 916:Cardinal Camillo Massimi 684:The Shepherds of Arcadia 661:Martyrdom of St. Erasmus 657:Martyrdom of St. Erasmus 638:Martyrdom of St. Erasmus 23:Poussin (disambiguation) 4422:French history painters 4417:French Baroque painters 3998:The Death of Germanicus 3872:"Nicolas Poussin" 3593:Encyclopædia Britannica 3361:(subscription required) 3320:. New York: Routledge. 3289:(subscription required) 3231:Rewald, Sabine (1984). 3057:The Burlington Magazine 2734:Blunt, Anthony (1967). 2073:Dulwich Picture Gallery 2050:Venus, a Faun and Putti 1897:Dulwich Picture Gallery 1808:The Death of Germanicus 1707:Dulwich Picture Gallery 1213:The Death of Germanicus 956:Landscape with Diogenes 680:The Young Pyrrhus Saved 619:The Death of Germanicus 367:French Wars of Religion 340:Giovanni Pietro Bellori 292:The Death of Germanicus 4412:French Roman Catholics 4214:The Funeral of Phocion 4137:(1634–1635, 1637–1638) 3833:Quotations related to 3634:Keazor, Henry (1998). 3414:Sauerländer, Willibald 3335:Keazor, Henry (2007). 3294:Chilvers, Ian (2009). 1901:Musée Condé, Chantilly 1820:Francois-Marius Granet 1767:, the Italian painter 1757:French Academy in Rome 803:for the chapel of the 646:Fabricca di San Pietro 442:Jean-François de Gondi 4407:Artists from Normandy 4355:Musée Nicolas Poussin 4278:The Flight into Egypt 3878:Catholic Encyclopedia 3742:. Paris: Flammarion. 3680:Mérot, Alain (1990), 2724:, pp. 55, 85–88. 2465:Lives of the Painters 2324:Landscape with a Calm 1682:and the paintings of 1486:The Death of Sapphira 1286:is symbolized not by 1268:Willibald Sauerländer 1011:San Lorenzo in Lucina 725:Cardinal de Richelieu 688:Cardinal Luigi Omodei 234:[nikɔlapusɛ̃] 3825:at Wikimedia Commons 3722:Standring, Timothy. 3158:Clay, Jean. (1973). 1696:The Triumph of David 1675:The Worship of Venus 1556:The Triumph of David 1513:The Death of Saphire 1386:Tancred and Hermiene 1290:but by the biblical 1125:The Seven Sacraments 1108:Judgement of Solomon 988:The Birth of Bacchus 711:Vincenzo Giustiniani 592:Joachim von Sandrart 421:, the court poet to 285:and the antiquarian 277:painters—especially 4230:Eliezer and Rebecca 4054:Cephalus and Aurora 3958:The Death of Chione 3724:"Poussin's Erotica" 3684:, Abbeville Press, 3618:Friedländer, Walter 3543:. London: Phaidon. 3369:(4 November 1990). 3137:, pp. 147–148. 3089:Thames & Hudson 2998:, pp. 109–127. 1781:Jacques-Louis David 1769:Pier Francesco Mola 1669:Bacchus and Ariadne 1631:classical antiquity 1538:Bacchus and Ariadne 1374:Jerusalem Delivered 1305:Poetry and allegory 1154:The Empire of Flora 962:for the comic poet 901:, 1660–1664, Louvre 721:The Empire of Flora 690:, who received the 596:Francesco Barberini 466:Death of Germanicus 446:Notre-Dame de Paris 419:Giambattista Marino 283:Francesco Barberini 259:Jacques-Louis David 4022:Echo and Narcissus 3885:Julia L. Valiela, 3856:NicolasPoussin.org 3753:Thuillier, Jacques 3736:Thuillier, Jacques 3658:The New York Times 3649:Kimmelman, Michael 3601:Cropper, Elizabeth 3376:The New York Times 3110:, pp. 32, 53. 2983:, pp. 101–102 2968:, pp. 94–100. 2899:Félibien cited by 2311:, Saint Petersburg 2256:, Saint Petersburg 2234:Kimbell Art Museum 2211:The Triumph of Pan 2196:The Birth of Venus 2056:, Saint Petersburg 1847:Post-Impressionist 1773:Gerard de Lairesse 1454:Walker Art Gallery 1364:Wallace Collection 1241:Cardinal Richelieu 1237:The Birth of Venus 1235:. He also created 1130:Cassiano dal Pozzo 966:, and in 1651 the 833:Labors of Hercules 705:). He painted the 642:Vatican Pinacoteca 600:Cassiano dal Pozzo 572:François Duquesnoy 495:Kimbell Art Museum 392:and especially of 287:Cassiano dal Pozzo 255:Cardinal Richelieu 4379: 4378: 4310:Apollo and Daphne 4166:Et in Arcadia ego 3941:List of paintings 3821:Media related to 3783:978-0-521-83367-7 3761:Christopher Allen 3729:Apollo (magazine) 3710:978-0-472-08435-7 3613:978-0-691-05067-6 3561:, Pallas Athene, 3475:The New Criterion 3392:Rosenberg, Pierre 3346:978-3-8228-5319-1 3034:, pp. 54–59. 3010:, pp. 49–50. 2956:, pp. 94–95. 2862:, pp. 48–49. 2838:, pp. 44–45. 2826:, pp. 42–45. 2790:, pp. 38–40. 2778:, pp. 33–38. 2712:, pp. 28–29. 2667:. pp. 47–69. 2616:, pp. 20–22. 2450:978-0-521-15255-6 2408:978-1-4058-8118-0 1777:French Revolution 1765:Sébastien Bourdon 1639:Pietro da Cortona 1394:Et in Arcadia ego 1382:Renaud and Armide 1338:Et in Arcadia ego 1203:Apollo and Daphne 960:Vision of St Paul 831:paintings of the 719:and commissioned 692:Triumphs of Flora 650:Pietro da Cortona 438:Luxembourg Palace 382:Georges Lallemand 159: 158: 116:Et in Arcadia ego 4444: 4432:Mythology in art 4402:People from Eure 4337:The Four Seasons 4329:Seven Sacraments 4046:Plague of Ashdod 3982:Venus and Adonis 3925: 3918: 3911: 3902: 3901: 3882: 3874: 3832: 3820: 3694: 3597: 3588:Poussin, Nicolas 3581: 3579: 3578: 3571: 3533: 3505: 3486: 3484: 3482: 3464: 3427: 3409: 3387: 3385: 3383: 3362: 3359: 3350: 3331: 3309: 3290: 3286: 3277: 3274:Nicholas Poussin 3256: 3250: 3244: 3229: 3223: 3209: 3203: 3188: 3182: 3176: 3170: 3156: 3150: 3144: 3138: 3132: 3123: 3117: 3111: 3105: 3099: 3078: 3072: 3066: 3060: 3053: 3047: 3041: 3035: 3029: 3023: 3017: 3011: 3005: 2999: 2993: 2984: 2978: 2969: 2963: 2957: 2951: 2945: 2943:Sauerländer 2016 2940: 2931: 2930: 2922: 2916: 2910: 2904: 2897: 2891: 2884: 2878: 2877:, pp. 51–53 2872: 2863: 2857: 2851: 2845: 2839: 2833: 2827: 2821: 2815: 2809: 2803: 2797: 2791: 2785: 2779: 2773: 2767: 2761: 2755: 2749: 2740: 2739: 2731: 2725: 2719: 2713: 2707: 2701: 2698: 2692: 2686: 2680: 2675: 2669: 2668: 2660: 2643: 2640: 2634: 2628: 2617: 2611: 2605: 2599: 2593: 2588: 2573: 2567: 2561: 2555: 2549: 2543: 2537: 2531: 2525: 2519: 2510: 2504: 2495: 2489: 2483: 2477: 2468: 2461: 2455: 2454: 2419: 2413: 2412: 2391: 2346:National Gallery 2344:, c. 1655–1657, 2342:The Annunciation 2338: 2320: 2309:Hermitage Museum 2301: 2289:, c. 1649–1650, 2283: 2265: 2254:Hermitage Museum 2244: 2232:, c. 1636–1640, 2226: 2215:National Gallery 2207: 2192: 2171: 2162: 2159: 2150: 2130: 2119:National Gallery 2109: 2096: 2093: 2084: 2065: 2054:Hermitage Museum 2046: 2033: 2030: 2021: 2011: 2010: 1996: 1980:Acis and Galatea 1975: 1964:National Gallery 1950: 1936: 1925: 1905:Hermitage Museum 1828:Eugène Delacroix 1740:Pierre Rosenberg 1719: 1716: 1704: 1701: 1619:Royal Collection 1616: 1613: 1604: 1591: 1588: 1577: 1564: 1561: 1552: 1530: 1520:Style and method 1482: 1464: 1444: 1424: 1354: 1333: 1319:Renaud et Armide 1315: 1272:The Four Seasons 1198: 1185: 1182: 1171: 1150: 1070: 1055: 1040: 951:Seven Sacraments 920:Cardinal Mazarin 893: 873: 858: 837:Triumph of Truth 779: 764: 749: 727:for a series of 716:Plague of Ashdod 700: 697: 525: 505: 492: 489: 484:Venus and Adonis 480: 462: 386:valet de chambre 304:Seven Sacraments 236: 231: 227: 226: 223: 222: 219: 216: 213: 210: 203: 195: 194: 191: 190: 187: 184: 181: 178: 171: 151: 111: 86: 83:19 November 1665 62: 60: 47:by Poussin, 1650 42: 28: 27: 4452: 4451: 4447: 4446: 4445: 4443: 4442: 4441: 4382: 4381: 4380: 4375: 4359: 4343: 4321:Painting series 4316: 4190:Extreme Unction 3943: 3934: 3932:Nicolas Poussin 3929: 3868: 3863:Wayback Machine 3835:Nicolas Poussin 3823:Nicolas Poussin 3813: 3791: 3740:Nicolas Poussin 3692: 3682:Nicolas Poussin 3679: 3664:Tina Mansueto, 3586:, ed. (1911). " 3582: 3576: 3574: 3569: 3559:Nicolas Poussin 3553: 3515: 3512: 3510:Further reading 3502: 3480: 3478: 3445:10.2307/3259008 3406: 3381: 3379: 3360: 3347: 3328: 3314:Facos, Michelle 3306: 3288: 3265: 3260: 3259: 3251: 3247: 3230: 3226: 3210: 3206: 3189: 3185: 3177: 3173: 3157: 3153: 3145: 3141: 3133: 3126: 3118: 3114: 3106: 3102: 3079: 3075: 3067: 3063: 3054: 3050: 3042: 3038: 3030: 3026: 3018: 3014: 3006: 3002: 2994: 2987: 2979: 2972: 2964: 2960: 2952: 2948: 2941: 2934: 2923: 2919: 2911: 2907: 2898: 2894: 2885: 2881: 2873: 2866: 2858: 2854: 2846: 2842: 2834: 2830: 2822: 2818: 2810: 2806: 2798: 2794: 2786: 2782: 2774: 2770: 2762: 2758: 2750: 2743: 2736:Nicolas Poussin 2732: 2728: 2720: 2716: 2708: 2704: 2699: 2695: 2687: 2683: 2676: 2672: 2661: 2646: 2641: 2637: 2629: 2620: 2612: 2608: 2600: 2596: 2589: 2576: 2568: 2564: 2556: 2552: 2544: 2540: 2532: 2528: 2520: 2513: 2505: 2498: 2490: 2486: 2478: 2471: 2462: 2458: 2451: 2420: 2416: 2409: 2392: 2388: 2383: 2378: 2356: 2349: 2339: 2330: 2321: 2312: 2302: 2293: 2284: 2275: 2266: 2257: 2245: 2236: 2227: 2218: 2208: 2199: 2193: 2184: 2172: 2163: 2160: 2151: 2142: 2131: 2122: 2110: 2101: 2094: 2085: 2076: 2066: 2057: 2047: 2038: 2031: 2022: 2013: 1997: 1988: 1976: 1967: 1951: 1942: 1934: 1926: 1917: 1909:Museo del Prado 1856:experiments of 1753:Charles Le Brun 1749: 1717: 1702: 1680:Casino Ludovisi 1621: 1614: 1605: 1596: 1589: 1578: 1569: 1562: 1553: 1544: 1531: 1522: 1489: 1483: 1474: 1465: 1456: 1445: 1436: 1425: 1416: 1367: 1355: 1346: 1334: 1325: 1316: 1307: 1207: 1199: 1190: 1183: 1172: 1163: 1151: 1142: 1096:Book of Genesis 1077: 1071: 1062: 1056: 1047: 1041: 1032: 1019: 979:Charles Le Brun 939:Vaux-le-Vicomte 935:Nicolas Fouquet 902: 894: 885: 874: 865: 859: 850: 787: 780: 771: 765: 756: 750: 741: 709:for the banker 698: 582:; Domenichino; 580:Claude Lorraine 535: 526: 517: 506: 497: 490: 481: 472: 463: 454: 423:Marie de Medici 363:Marie de Medici 336: 331: 229: 207: 198: 197: 175: 166: 165: 162:Nicolas Poussin 130: 109: 94: 88: 84: 75: 64: 58: 56: 48: 33: 32:Nicolas Poussin 26: 19: 12: 11: 5: 4450: 4440: 4439: 4434: 4429: 4424: 4419: 4414: 4409: 4404: 4399: 4394: 4377: 4376: 4374: 4373: 4367: 4365: 4361: 4360: 4358: 4357: 4351: 4349: 4345: 4344: 4342: 4341: 4333: 4324: 4322: 4318: 4317: 4315: 4314: 4306: 4298: 4290: 4282: 4274: 4266: 4258: 4250: 4242: 4234: 4226: 4218: 4210: 4202: 4194: 4186: 4178: 4170: 4162: 4154: 4146: 4138: 4130: 4122: 4114: 4106: 4098: 4097:(c. 1631–1633) 4090: 4082: 4081:(c. 1629–1630) 4074: 4066: 4058: 4057:(c. 1629–1630) 4050: 4042: 4034: 4026: 4018: 4010: 4009:(c. 1626-1627) 4002: 3994: 3986: 3978: 3970: 3962: 3953: 3951: 3945: 3944: 3939: 3936: 3935: 3928: 3927: 3920: 3913: 3905: 3899: 3898: 3883: 3866: 3853: 3848: 3838: 3826: 3812: 3811:External links 3809: 3808: 3807: 3804: 3801: 3798: 3795: 3790: 3787: 3786: 3785: 3771: 3750: 3733: 3720: 3698:Serres, Michel 3695: 3690: 3677: 3662: 3646: 3632: 3615: 3598: 3584:Chisholm, Hugh 3572: 3567: 3555:Blunt, Anthony 3551: 3537:Blunt, Anthony 3534: 3511: 3508: 3507: 3506: 3500: 3487: 3465: 3428: 3410: 3404: 3388: 3363: 3351: 3345: 3332: 3327:978-1136840715 3326: 3310: 3305:978-0199532940 3304: 3291: 3278: 3270:Blunt, Anthony 3264: 3261: 3258: 3257: 3245: 3224: 3204: 3183: 3171: 3151: 3139: 3124: 3122:, p. 149. 3112: 3100: 3085:History of Art 3073: 3061: 3048: 3036: 3024: 3012: 3000: 2985: 2970: 2958: 2946: 2932: 2917: 2905: 2892: 2879: 2864: 2852: 2850:, p. 254. 2840: 2828: 2816: 2814:, p. 211. 2804: 2792: 2780: 2768: 2756: 2741: 2726: 2714: 2702: 2693: 2681: 2670: 2644: 2635: 2618: 2606: 2604:, p. 496. 2594: 2574: 2562: 2560:, p. 250. 2550: 2538: 2526: 2511: 2496: 2484: 2469: 2456: 2449: 2414: 2407: 2395:Wells, John C. 2385: 2384: 2382: 2379: 2377: 2374: 2373: 2372: 2367: 2362: 2355: 2352: 2351: 2350: 2340: 2333: 2331: 2322: 2315: 2313: 2303: 2296: 2294: 2285: 2278: 2276: 2267: 2260: 2258: 2246: 2239: 2237: 2228: 2221: 2219: 2209: 2202: 2200: 2198:, 1635 or 1636 2194: 2187: 2185: 2173: 2166: 2164: 2152: 2145: 2143: 2132: 2125: 2123: 2111: 2104: 2102: 2086: 2079: 2077: 2067: 2060: 2058: 2048: 2041: 2039: 2025:Mars and Venus 2023: 2016: 2014: 1998: 1991: 1989: 1977: 1970: 1968: 1952: 1945: 1943: 1939:Pushkin Museum 1927: 1920: 1916: 1913: 1886:Markus Lüpertz 1862:Georges Braque 1843:Georges Seurat 1793:Death of Marat 1761:Jacques Stella 1748: 1745: 1623: 1622: 1608:Triumph of Pan 1606: 1599: 1597: 1579: 1572: 1570: 1554: 1547: 1545: 1532: 1525: 1521: 1518: 1491: 1490: 1488:, 1654, Louvre 1484: 1477: 1475: 1466: 1459: 1457: 1446: 1439: 1437: 1432:, late 1630s, 1426: 1419: 1415: 1412: 1378:Torquato Tasso 1369: 1368: 1356: 1349: 1347: 1335: 1328: 1326: 1323:Pushkin Museum 1317: 1310: 1306: 1303: 1209: 1208: 1206:, 1664, Louvre 1200: 1193: 1191: 1173: 1166: 1164: 1159:Gemäldegalerie 1152: 1145: 1141: 1138: 1079: 1078: 1076:, 1649, Louvre 1072: 1065: 1063: 1061:, 1647, Louvre 1057: 1050: 1048: 1042: 1035: 1031: 1028: 1018: 1015: 931:André Félibien 904: 903: 895: 888: 886: 875: 868: 866: 860: 853: 849: 846: 789: 788: 781: 774: 772: 766: 759: 757: 755:, 1641, Louvre 751: 744: 740: 737: 612:Gaspard Dughet 576:Jacques Stella 537: 536: 533:Vatican Museum 527: 520: 518: 507: 500: 498: 482: 475: 473: 464: 457: 453: 450: 434:Windsor Castle 413:Francis Xavier 378:Ferdinand Elle 352:André Félibien 335: 332: 330: 327: 242:French Baroque 157: 156: 153: 152: 144: 143: 139: 138: 135: 134: 125: 121: 120: 112: 106: 105: 100: 99:Known for 96: 95: 89: 87:(aged 71) 81: 77: 76: 65: 54: 50: 49: 43: 35: 34: 31: 17: 9: 6: 4: 3: 2: 4449: 4438: 4435: 4433: 4430: 4428: 4425: 4423: 4420: 4418: 4415: 4413: 4410: 4408: 4405: 4403: 4400: 4398: 4395: 4393: 4390: 4389: 4387: 4372: 4369: 4368: 4366: 4362: 4356: 4353: 4352: 4350: 4346: 4339: 4338: 4334: 4331: 4330: 4326: 4325: 4323: 4319: 4312: 4311: 4307: 4304: 4303: 4299: 4296: 4295: 4291: 4288: 4287: 4283: 4280: 4279: 4275: 4272: 4271: 4267: 4264: 4263: 4259: 4256: 4255: 4254:Self-Portrait 4251: 4248: 4247: 4243: 4240: 4239: 4235: 4232: 4231: 4227: 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3748:2-08-012440-4 3745: 3741: 3737: 3734: 3731: 3730: 3725: 3721: 3719: 3715: 3711: 3707: 3703: 3699: 3696: 3693: 3691:1-55859-120-6 3687: 3683: 3678: 3675: 3674:9788899306304 3671: 3667: 3663: 3660: 3659: 3654: 3650: 3647: 3645: 3644:3-7954-1146-7 3641: 3637: 3633: 3631: 3627: 3623: 3619: 3616: 3614: 3610: 3606: 3602: 3599: 3595: 3594: 3589: 3585: 3573: 3570: 3568:1-873429-64-9 3564: 3560: 3556: 3552: 3550: 3546: 3542: 3538: 3535: 3531: 3527: 3524:(1–2): 5–24. 3523: 3519: 3514: 3513: 3503: 3501:0-87052-218-3 3497: 3493: 3488: 3477: 3476: 3471: 3466: 3462: 3458: 3454: 3450: 3446: 3442: 3438: 3434: 3429: 3425: 3421: 3420: 3415: 3411: 3407: 3405:2-07-053269-0 3401: 3397: 3393: 3389: 3378: 3377: 3372: 3368: 3367:Russell, John 3364: 3357: 3352: 3348: 3342: 3338: 3333: 3329: 3323: 3319: 3315: 3311: 3307: 3301: 3297: 3292: 3284: 3279: 3275: 3271: 3267: 3266: 3254: 3249: 3242: 3238: 3234: 3228: 3222: 3221:1-903470-27-7 3218: 3214: 3208: 3201: 3200:1-854-37043-X 3197: 3193: 3187: 3180: 3175: 3169: 3165: 3161: 3160:Impressionism 3155: 3148: 3143: 3136: 3131: 3129: 3121: 3116: 3109: 3104: 3098: 3094: 3090: 3086: 3082: 3077: 3071:, p. 11. 3070: 3065: 3058: 3052: 3046:, p. 68. 3045: 3040: 3033: 3028: 3021: 3016: 3009: 3004: 2997: 2992: 2990: 2982: 2977: 2975: 2967: 2962: 2955: 2950: 2944: 2939: 2937: 2928: 2921: 2915:, p. 71. 2914: 2909: 2902: 2896: 2889: 2883: 2876: 2871: 2869: 2861: 2856: 2849: 2844: 2837: 2832: 2825: 2820: 2813: 2808: 2802:, p. 42. 2801: 2796: 2789: 2784: 2777: 2772: 2766:, p. 31. 2765: 2760: 2753: 2748: 2746: 2737: 2730: 2723: 2718: 2711: 2706: 2697: 2691:, p. 55. 2690: 2685: 2679: 2674: 2666: 2659: 2657: 2655: 2653: 2651: 2649: 2639: 2632: 2627: 2625: 2623: 2615: 2610: 2603: 2602:Chilvers 2009 2598: 2592: 2587: 2585: 2583: 2581: 2579: 2572:, p. 18. 2571: 2566: 2559: 2554: 2548:, p. 17. 2547: 2542: 2535: 2534:Thompson 1992 2530: 2523: 2518: 2516: 2508: 2503: 2501: 2494:, p. 15. 2493: 2488: 2481: 2476: 2474: 2466: 2460: 2452: 2446: 2442: 2441: 2436: 2432: 2428: 2424: 2423:Jones, Daniel 2418: 2410: 2404: 2400: 2396: 2390: 2386: 2371: 2368: 2366: 2363: 2361: 2358: 2357: 2347: 2343: 2337: 2332: 2329: 2326:, 1650–1651, 2325: 2319: 2314: 2310: 2306: 2300: 2295: 2292: 2288: 2282: 2277: 2274: 2270: 2264: 2259: 2255: 2251: 2250: 2243: 2238: 2235: 2231: 2225: 2220: 2216: 2212: 2206: 2201: 2197: 2191: 2186: 2183: 2179: 2178: 2170: 2165: 2155: 2149: 2144: 2141: 2138:, 1633–1634, 2137: 2136: 2129: 2124: 2120: 2117:, 1633–1634, 2116: 2115: 2108: 2103: 2100: 2089: 2083: 2078: 2074: 2070: 2064: 2059: 2055: 2051: 2045: 2040: 2037: 2026: 2020: 2015: 2009: 2003: 2002: 1995: 1990: 1986: 1982: 1981: 1974: 1969: 1965: 1961: 1960: 1956: 1949: 1944: 1940: 1932: 1931: 1924: 1919: 1918: 1912: 1910: 1906: 1902: 1898: 1894: 1889: 1887: 1883: 1879: 1875: 1871: 1867: 1863: 1859: 1858:Pablo Picasso 1855: 1850: 1848: 1844: 1840: 1839:Maurice Denis 1835: 1831: 1829: 1825: 1821: 1817: 1811: 1809: 1806:in Poussin's 1805: 1804: 1799: 1798:Benjamin West 1795: 1794: 1789: 1788: 1782: 1778: 1774: 1770: 1766: 1762: 1758: 1754: 1744: 1741: 1737: 1733: 1732:Metamorphoses 1727: 1725: 1724: 1712: 1708: 1697: 1691: 1689: 1685: 1681: 1677: 1676: 1671: 1670: 1665: 1664: 1659: 1655: 1650: 1648: 1644: 1640: 1636: 1632: 1628: 1620: 1609: 1603: 1598: 1595: 1584: 1583: 1576: 1571: 1568: 1557: 1551: 1546: 1543: 1540:, 1624–1625, 1539: 1535: 1529: 1524: 1523: 1517: 1514: 1509: 1507: 1503: 1502: 1496: 1487: 1481: 1476: 1473: 1469: 1463: 1458: 1455: 1451: 1450: 1443: 1438: 1435: 1431: 1430: 1423: 1418: 1417: 1411: 1409: 1408: 1402: 1400: 1396: 1395: 1389: 1387: 1383: 1379: 1375: 1365: 1361: 1360: 1353: 1348: 1345: 1341: 1339: 1332: 1327: 1324: 1320: 1314: 1309: 1308: 1302: 1300: 1295: 1293: 1289: 1285: 1281: 1277: 1273: 1269: 1264: 1262: 1258: 1254: 1253:Metamorphoses 1250: 1246: 1242: 1238: 1234: 1230: 1226: 1222: 1218: 1214: 1205: 1204: 1197: 1192: 1189: 1178: 1177: 1170: 1165: 1162: 1160: 1155: 1149: 1144: 1143: 1137: 1135: 1131: 1127: 1126: 1120: 1117: 1111: 1109: 1105: 1104:New Testament 1101: 1097: 1093: 1089: 1085: 1084:Old Testament 1075: 1069: 1064: 1060: 1054: 1049: 1045: 1039: 1034: 1033: 1027: 1025: 1014: 1012: 1007: 1005: 1001: 997: 993: 989: 983: 980: 975: 973: 972:duc de Créquy 969: 965: 961: 957: 953: 952: 947: 942: 940: 936: 932: 927: 925: 921: 917: 913: 909: 900: 899: 892: 887: 884: 880: 879: 872: 867: 863: 857: 852: 851: 845: 843: 838: 834: 830: 826: 822: 818: 814: 810: 806: 802: 796: 794: 785: 778: 773: 769: 763: 758: 754: 748: 743: 742: 736: 732: 730: 726: 722: 718: 717: 712: 708: 704: 693: 689: 685: 681: 677: 673: 670: 665: 662: 658: 653: 651: 647: 643: 639: 634: 632: 631:Jean le Maire 628: 624: 620: 615: 613: 609: 603: 601: 597: 593: 589: 585: 584:Andrea Sacchi 581: 577: 573: 568: 566: 562: 558: 554: 550: 546: 542: 534: 530: 524: 519: 516: 512: 511: 504: 499: 496: 485: 479: 474: 471: 467: 461: 456: 455: 449: 447: 443: 439: 435: 431: 430: 429:Metamorphoses 424: 420: 416: 414: 410: 406: 402: 397: 395: 391: 390:Giulio Romano 387: 383: 379: 375: 370: 368: 364: 359: 357: 356:Quentin Varin 353: 349: 345: 341: 326: 324: 320: 319: 314: 308: 306: 305: 300: 299: 294: 293: 288: 284: 280: 276: 270: 268: 264: 260: 256: 252: 248: 243: 240: 235: 225: 201: 193: 169: 163: 154: 150: 145: 140: 136: 133: 129: 126: 122: 118: 117: 113: 107: 104: 101: 97: 93: 82: 78: 73: 69: 55: 51: 46: 45:Self-portrait 41: 36: 29: 24: 16: 4335: 4327: 4308: 4300: 4292: 4284: 4276: 4268: 4260: 4252: 4244: 4236: 4228: 4220: 4212: 4204: 4196: 4188: 4180: 4172: 4164: 4156: 4148: 4140: 4132: 4124: 4116: 4108: 4100: 4092: 4084: 4076: 4068: 4060: 4052: 4044: 4036: 4028: 4020: 4012: 4004: 3996: 3993:(1626; 1635) 3988: 3980: 3972: 3964: 3956: 3931: 3892: 3886: 3876: 3843: at the 3837:at Wikiquote 3774: 3756: 3739: 3727: 3701: 3681: 3665: 3656: 3635: 3621: 3604: 3591: 3558: 3540: 3521: 3517: 3491: 3479:. 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Retrieved 3374: 3355: 3336: 3317: 3295: 3282: 3273: 3255:, p. 8. 3248: 3232: 3227: 3212: 3207: 3191: 3186: 3174: 3159: 3154: 3147:Russell 1990 3142: 3115: 3103: 3084: 3081:Janson, H.W. 3076: 3064: 3056: 3051: 3039: 3027: 3015: 3003: 2961: 2949: 2926: 2920: 2908: 2903:, p. 32 2895: 2887: 2882: 2855: 2843: 2831: 2819: 2807: 2795: 2783: 2771: 2759: 2754:, p. 30 2735: 2729: 2717: 2705: 2696: 2684: 2673: 2664: 2638: 2633:, p. 22 2609: 2597: 2565: 2553: 2541: 2536:, p. 7. 2529: 2524:, p. 12 2509:, p. 16 2487: 2482:, p. 14 2464: 2459: 2438: 2435:Esling, John 2431:Setter, Jane 2427:Roach, Peter 2417: 2398: 2389: 2341: 2328:Getty Center 2323: 2304: 2286: 2268: 2247: 2229: 2210: 2195: 2174: 2153: 2133: 2112: 2087: 2068: 2049: 2024: 1999: 1978: 1953: 1928: 1890: 1870:André Derain 1865: 1851: 1845:was another 1832: 1816:physiognomic 1812: 1807: 1801: 1791: 1785: 1750: 1731: 1728: 1721: 1710: 1695: 1692: 1673: 1667: 1661: 1651: 1646: 1642: 1624: 1607: 1580: 1567:Prado Museum 1555: 1542:Prado Museum 1537: 1533: 1512: 1510: 1505: 1499: 1492: 1485: 1467: 1447: 1427: 1406: 1403: 1392: 1390: 1385: 1381: 1373: 1370: 1357: 1336: 1318: 1298: 1296: 1283: 1275: 1271: 1265: 1252: 1236: 1216: 1212: 1210: 1201: 1174: 1158: 1153: 1123: 1121: 1112: 1107: 1099: 1080: 1073: 1058: 1043: 1023: 1020: 1008: 1003: 999: 995: 991: 987: 984: 976: 967: 964:Paul Scarron 959: 955: 949: 943: 928: 905: 896: 876: 861: 836: 832: 820: 816: 808: 800: 797: 790: 767: 752: 733: 728: 720: 714: 706: 691: 683: 679: 675: 671: 668: 666: 660: 656: 654: 637: 635: 626: 618: 616: 604: 569: 538: 528: 508: 483: 465: 428: 417: 398: 385: 371: 360: 337: 322: 316: 312: 309: 302: 296: 290: 271: 267:Paul Cézanne 161: 160: 114: 110:Notable work 92:Papal States 85:(1665-11-19) 15: 4397:1665 deaths 4392:1594 births 4340:(1660–1664) 4313:(1661–1664) 4281:(1657–1658) 4273:(1650–1653) 4265:(1645–1650) 4233:(1648–1649) 4193:(1638–1640) 4185:(1638–1639) 4145:(1634–1636) 4129:(1633–1634) 4121:(1633–1634) 4113:(1633–1634) 4105:(1632–1633) 4089:(1625–1632) 4073:(1628–1630) 4065:(1629–1630) 4049:(1628–1630) 4041:(1628–1629) 4033:(1628–1629) 4025:(1627–1628) 4017:(1627–1628) 3789:Exhibitions 3481:15 December 3382:19 December 3253:Keazor 2007 3213:Jean Hélion 3179:Wilkin 1995 3069:Wright 1985 3044:Wright 1985 3008:Wright 1985 2848:Wright 1985 2812:Wright 1985 2558:Wright 1985 2522:Keazor 2007 2307:, c. 1655, 2271:, c. 1649, 2269:Holy Family 2161: 1635 2095: 1633 2032: 1630 1874:Jean Hélion 1726:(1639–40). 1718: 1638 1703: 1633 1684:Domenichino 1627:Renaissance 1615: 1635 1590: 1664 1563: 1630 1184: 1638 1116:Simon Vouet 1000:The Seasons 968:Holy Family 821:Last Supper 729:Bacchanales 699: 1630 565:Simon Vouet 561:Domenichino 513:, 1629–30, 491: 1628 344:Les Andelys 323:The Seasons 119:, 1637–1638 68:Les Andelys 4386:Categories 3276:. 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