Nicolas Poussin
French 1594-1665 Nicolas Poussin Galleries
The finest collection of Poussin's paintings, in addition to his drawings, is located in the Louvre in Paris. Besides the pictures in the National Gallery and at Dulwich, England possesses several of his most considerable works: The Triumph of Pan is at Basildon House, near to Pangbourne, (Berkshire), and his great allegorical painting of the Arts at Knowsley. The later version of Tancred and Erminia is at the Barber Institute in Birmingham. At Rome, in the Colonna and Valentini Palaces, are notable works by him, and one of the private apartments of Prince Doria is decorated by a great series of landscapes in distemper.
Throughout his life he stood aloof from the popular movement of his native school. French art in his day was purely decorative, but in Poussin we find a survival of the impulses of the Renaissance coupled with conscious reference to classic work as the standard of excellence. In general we see his paintings at a great disadvantage: for the color, even of the best preserved, has changed in parts, so that the harmony is disturbed; and the noble construction of his designs can be better seen in engravings than in the original. Among the many who have reproduced his works, Audran, Claudine Stella, Picart and Pesne are the most successful. Related Paintings of Nicolas Poussin :. | Landscape with Polyphemus | The Nurture of Jupiter | Der Tod der Saffira | 'The Jews Gathering the Manna in the Desert | Eats in Arcadia ego | Related Artists: Felix Vallotton1865-1925was a Swiss painter and printmaker associated with Les Nabis. He was an important figure in the development of the modern woodcut. He was born into a conservative middle class family in Lausanne, and there he attended College Cantonal, graduating with a degree in classical studies in 1882. In that year he moved to Paris to study art under Jules Joseph Lefebvre and Gustave Boulanger at the Academie Julian. He spent many hours in the Louvre, where he greatly admired the works of Holbein, Derer and Ingres; these artists would remain exemplars for Vallotton throughout his life.[1] His earliest paintings, such as the Ingresque Portrait of Monsieur Ursenbach (1885), are firmly rooted in the academic tradition, and his self portrait of 1885 (seen at right) received an honorable mention at the Salon des artistes français in 1886. During the following decade Vallotton painted, wrote art criticism and made a number of prints. In 1891 he executed his first woodcut, a portrait of Paul Verlaine. The many woodcuts he produced during the 1890s were widely disseminated in periodicals and books in Europe as well as in the United States, and were recognized as radically innovative in printmaking. They established Vallotton as a leader in the revival of true woodcut as an artistic medium; in the western world, the relief print, in the form of commercial wood engraving, had long been mainly utilized unimaginatively as a medium for the reproduction of drawn or painted images and, latterly, photographs. Vallotton's starkly reductive woodcut style features large masses of undifferentiated black and areas of unmodulated white. While emphasizing outline and flat patterns, Vallotton generally made no use of the gradations and modeling traditionally produced by hatching. The influences of post-Impressionism, symbolism and the Japanese woodcut are apparent; a large exhibition of ukiyo-e prints had been presented at the École des Beaux-Arts in 1890, and Vallotton, like many artists of his era an enthusiast of Japonism, collected these prints. He depicted street crowds and demonstrations including several scenes of police attacking anarchists bathing women, portrait heads, and other subjects which he treated with a sardonic humor. His graphic art reached its highest development in Intimit's (Intimacies), a series of ten interiors published in 1898 by the Revue Blanche, which deal with tension between men and women. Vallotton's prints have been suggested as a significant influence on the graphic art of Edvard Munch, Aubrey Beardsley, and Ernst Ludwig Kirchner .By 1892 he was affiliated with Les Nabis, a group of young artists that included Pierre Bonnard, Ker-Xavier Roussel, Maurice Denis, and Edouard Vuillard, with whom Vallotton was to form a lifelong friendship. During the 1890s, when Vallotton was closely allied with the avant-garde, his paintings reflected the style of his woodcuts, with flat areas of color, hard edges, and simplification of detail. Bessie WheelerBessie Wheeler was a painter about whom little is known, other than that she was born in 1876. She painted portraits of people encountered on the streets of Honolulu around 1900. She contributed illustrations to Thrum's Hawaiian Annual and was a member of the Kilohana Art League. margareta capsia gavelinMargareta Capsia, född 1682 i Sverige, död 20 juni 1759 i Åbo, var en svensk-finländsk konstnär, den första kvinnliga konstnären i Finland och en av de första i Skandinavien. Hon var kyrkomålare och målade altartavlor, men utförde även personporträtt.
Capsias föräldrar Gottfried Capsia och Anna Schultz hade kommit till Sverige från Holland. Hon gifte sig i Stockholm 1719 med prästen Jacob Gavelin och flyttade till Vasa 1721, där hon gjorde sig känd som altarmålare i Österbotten. 1730 flyttade paret till Åbo, där hon blev känd i hela landet som konstnär. Hon målade altatavlorna i en rad kyrkor, bla målade hon 1739 Säkylä kyrkas altartavla, och i den gamla kyrkan i Paltamo, den så kallade bildkyrkan, finns bland annat en altartavla från 1727 som föreställer nattvarden. Hennes altartavlor beskrivs som individualistiska och naivt ärliga bibelillustrationer, och hon ansågs som landets då främsta altarkonstnärer tillsammans med Mikael Toppelius.
Hon var en av de få kvinnliga konstnärerna kända i Skandinavien före 1800-talet, tillsammans med Ulrika Pasch i Sverige och Johanne Marie Fosie i Danmark. I Finland var även Helena Arnell känd under samma tid.
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